Or in some cases individuals in one to one settings. Tempo that rendered it unrecognisable to some members of the groups. It was the ghosting of the scale at a fast Through the pattern we were discussing that caused the stir. It was the misdemeanour of mindlessly rattling (MyĪfter suffering my moments of horror for allegedly committing a cardinal teaching sin I later realised from my analysis the real connection. ![]() Well when the pace of the scale itself is played too fast during the discussion. Of the discussion ( of the scale) being too fast.ĭoesn’t hear and recognise the scale/position that we are saying we know so The few occasions it has happened this is not telling me about the pace Play through” of the very pattern we are talking about, here is what sometimesĬomes next: Whoa! Whoa! Your gong to fast!! This is fine to say and it must always be addressed BUT: Minor Scale, right? So say many of my students including my community groups ofĪdult players who play for fun and relaxation a couple of dates a month.Īre talking about say a Pentatonic Minor Scale in Root Position and I may do a “reminder After all a scale is really just the alphabet of notes in music. Right? Or do we really? Or maybe we just know it in a one-dimensional (wow! now that would impress me! …R by the way… )Īlphabet to make up some one-syllable words that rhyme and will make us all Metronome ticking at 120 beats per minute, recite in time, every fifth letterĪlphabet backwards as fast as you can starting on the 17 th letter. or pick any word you know you’d crash and burn on then smarty pants!) Ok what if I said, Great Fred, now stand up inįront of the group and without any other reference spell out the word - out Me “yea yea yea yea but I already know that! I know the alphabet already! I’veĭone it all my life! I want to know what comes next!” Great, but if I said “let’s explore that”, you may tell Would be good to distinguish the difference between being able to know, being able to understand, being able to hear and being able to do. So, I decided to focus and reflect on my recollections and observations from various settings with various people. Trend on a few occasions in some music workshop groups and even some individual lessons that worried me a bit as a teacher. Even when just beginning to learn the alphabet. It is after all one of the first things we learn.Īvoid it, in many learning situations involving diverse groups, there willĪlways be some times when something is moving too fast for some and too slowįor others. These sylables was brought from beginning lines of latin hymn to St.The alphabet. This system we know today as Solmisation. He put notes to music staff which had 4 lines (instead of 5,what we have today) and gave the sylable for each pitch. Who knows? Italian theorist, Guido d'Arezzo, organized notation of already existed music. ![]() So, maybe this letter 'B' fitted better for B flat pitch. From 'D'- DEFGAB (B sounds like real B natural) From 'E'- EFGABC From 'F'- 'B' doesn't sound well (Lydian mode doesn't exist yet). Pretend we form hexachord from note 'C': we have CDEFGA. ![]() So, probably when this hexachord was formed from 'F' note, there was no letter for B flat. I heard this version: the letter 'b' looks like flat, and the letter 'h' looks like natural.īTW, I am back to hexachords. Later, for B note was used the letter 'H' (next to 'G'). The lowest pitch was named 'A' following by B (which was sounded like B flat), C, D, E, F, G. Hexachord is diatonic 6th stepped mode which related to Greek music of 9th century. Maybe the reason goes to history of hexachords.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |