dtoh wrote: ↑
Sun Dec 24, 2017 11:24 pm
It would be a huge help to a lot of people. You could start small by annotating a few existing studies that are off copyright.
Perhaps what follows will help further ? This, the sequel to the opening post :
Logy’s Aria in A minor
; Second Phrase
The first G in the first bar is G# ... the second G in that same bar is G natural ... and ALL subsequent Gs (in bars 2, 3, and 4) are natural! Why ?
Why is it that where there is no accidental in the key signature, G#’s appear here and there in the piece ? And only the Gs are sharpened. Why the Gs ?
Prior to investigating THE MINOR SCALE, examine the Major scale, bearing in mind what Fernando Sor writes in his Guitar Method (not my spelling) :
The brackets below the dots represent WHOLE TONES, those above indicate the SEMI TONES ; pay particular attention to these “gaps”, their sound, and their positions within the scale : they will become increasingly important in the study of harmony.
Play the following scale WITH the suggested fingerings and positions (not that fingerings or positions should ever be imposed, but they are important in this case) :
Without too much theoretical analysis which all too often leads to pseudo-dyslexia, bemusement, and allergies of all kinds, you may be interested in observing the discrepancies between the intervals that separate the degrees of the scale, and which are reflected in the Left Hand fingerings ; sometimes adjacent fingers play two notes on consecutive frets, sometimes a fret is skipped because there is more space between some notes. For the moment, concentrate on just one area : the interval between notes 7 and 8, the so-called Leading Note and the Tonic which are separated from each other by just ONE semitone.
The Tonic is the note with which the scale starts. It is also the note with which the scale ends. The ear, subconsciously, keeps track of the Tonic as the scale evolves and the closer it gets to the recurrence of the Tonic, one octave higher, the more it wants to hear it again.
Bearing these factors in mind, play the D Major scale, adhering to the fingerings which first familiarise you with the position of the “D” on the Ⓐ string played with the second finger at position IV. Having also familiarised with the notes reaching the IVth position on the other strings, play the scale whilst calling out the names of the notes and concentrating on the fact that you are in the IVth position ; be conscious at all times of the notes you are playing, of which strings they are on, and at what position you are : a little bit of multi-tasking (a musician’s daily bread) during which you will also notice that, for the scale, the fingering pattern exactly echoes that of the C Major scale : 2-4 ; 1-2-4 ; 1-3-4.(*)
(*) (It is crucial to work in this way - i.e. always to read the notes - rather than perpetuate the method of learning one scale and then replicating the formula by simply moving up a fret but not reading the notes in the new key, as demonstrated in this examination board’s instructions (below) which are pure poison, as they encourage students to play scales “blind” until they no longer have any idea where they are or what they are doing ; there is then the other syndrome consisting of reading fingerings rather than notes :
To familiarise with the A, on the bass Ⓔ string, at position IV, play :
Now, returning to the A minor Harmonic scale, play it as written (with no accidental) :
Most listeners will feel that there is “something missing”, something inconclusive ; whereas if you play the following :
the above feels much more conclusive, because the gap between the leading note and the tonic has been reduced to a semi tone, as it was in the Major scales.
With this understanding of accidentals in minor keys, examine what can happen when they are NOT being used ; when playing the following phrase, it will be very audible that it DEFINITELY STARTS in A minor ... but it DEFINITELY does not END in A minor :
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