Re: [Harp-L] Theory of scales

[icemanle@xxxxxxx]

One aspect of "scales" that has always bothered me is the divisiveness taught between learning/playing scales and learning/playing music. 
 
Traditionally, they are approached as two different entities. First you learn and practice your scales (endless BORING up and down, up and down) and then you play music (FUN).
 
Practice time is divided - start by practicing SCALES. When you are done practicing SCALES, proceed to the MUSIC.
 
I've evolved into a different philosophy which has shown remarkable success in its application to my students. Scales are treated as melodic lines and played as such. 
 
However, to give them shape and contour, I present them as an entity "played to the 9th (scale) degree and back". 
 
Example:
 
Major diatonic scale - do, re, mi, fa, sol, la, ti, do. - 7 notes with a repeating octave = 8 notes. I simply add the 9th scale degree -  do, re, mi, fa, sol, la, ti, do, re. This choice of notes, when played up and down morphs into a melodic line. "Do, re, mi, fa, sol, la, ti, do, re, do, ti, la, sol, fa, mi, re, do." This SOUNDS like a melodic idea.
 
Notice that I don't go up, stop, repeat the last note and come down, as is traditionally done with scale practice. "Do, re, mi, fa, sol, la, ti, do. Do, ti, la, sol, fa, mi, re, do". This SOUNDS like a scale.
 
Try this on your diatonic, beginning on 4 hole exhale. 
 
I use the same basic idea with a variation or two when teaching "blues scales", "pentatonic scales", etc.
 
With this approach, students learn early on to perceive scales as note choices and melodic line inspiration rather than a dry and boring practice necessity without attachment to the music.
 
I encourage my students to "never practice". Everything they do should be "playing music", even if it is a repeated idea in order to ingrain the sounds into their inner ears. This helps blur the distinction between "practice" and "performance" until they both become the same thing.
 
It is an extreme short cut to musicianship that moves outside the "box" of how music has traditionally been taught. 
 
This and other revolutionary ideas have helped me develop a program by which a total beginner on diatonic harmonica can, within 6 months, find the confidence and ability to hold one's own for a song at a jam session (easy blues shuffle, I - IV - V, progression). This includes solid accompaniment, at least one 12 bar solo and a clear understanding of the 12 bar blues form.
 
We bypass the "learning other's solos off of recordings" 1 - 4 year commitment (in order to eventually "get it") and move right to the source of understanding and creating.
 
It is a successful approach (according to the results I've seen) and is fascinating,fast and fun for both teacher and student.
 
The Iceman
 
 
 
-----Original Message-----
From: rick.dempster@xxxxxxxxxxx



There's no better way of learning a piece of country than by exploring it 
yourself. But having a map sure as hell makes it quicker.
RD
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