Re: Subject: RE: [Harp-L] Figuring Sharps in Keys - Why A minor is isdifferent from C major
It is a challenge to explain this briefly and clearly.
Everyone has had a shot at it. Here is mine:
An octave is the musical interval between an audible
frequency and another that is twice or half that frequency.
The standard "building-block" interval in western music is a
halftone, about a twelfth of an octave
The ratio of frequencies of adjacent halftones is
approximately 2^(1/12), "twelfth root of 2" = 1.05946
The traditional intervals in halftones of any scale or mode
are 2 2 1 2 2 2 1 repeating
Where you start in this sequence defines the scale/mode
(ionian, dorian, phrygian, lydian, mixolydian, aolean,
locrian)
We mostly use the ionian 2212221 (major) and the aolean
2122122 (minor) scales.
Where you place the tonal base (usually the last note of a
song) on the 12-halftone chromatic scale defines the key.
The names of the halftones are A, A#/Bb, B, C, C#/Db, D,
D#/Eb, E, F, F#/Gb, G, G#/Ab repeating in each octave.
Modern convention places "A" at 440 hz times some power of
2.
From the above, you should be able to figure out which notes
of any scale/mode appear on the sharp or flat notes of the
chromatic scale. These then appear in the key signature at
the left end of the musical staff.
Although the above will be true 99+% of the time, there can
be minor exceptions, e.g. 5-note scales, atonal music, and
slight deviations from the frequency intervals of halftones
for "just" tuning.
Vern
----- Original Message -----
From: "David Payne" <dmatthew@xxxxxxxxxxxxxxxxxxxxxx>
To: "Harp L Harp L" <harp-l@xxxxxxxxxx>
Sent: Tuesday, October 06, 2009 12:39 PM
Subject: Re: Subject: RE: [Harp-L] Figuring Sharps in Keys -
Why A minor is isdifferent from C major
You can take flour, eggs, milk and make pancakes. Or you can
take flour, eggs and milk and make Yorkshire pudding.
Yorkshire pudding and pancakes are not the same thing. Yet,
they have the same ingredients. Depending on how you use
those ingredients, it can come out Y-shire pudding or as
pancakes.
Thus it is with major and relative minor scales.
C and Am are entirely different scales, they just happen to
have the same notes. Although the way things line up,
strange stuff happens and they can blend into something that
is neither truly one or the other. There's one Ernie
Carpenter tune, Elk River Blues, for instance, that melds
between the two. If you played it in Am, it would start and
end on C... and the end note is supposed to be on the
keynote. How the other notes function, however, makes it Am
not C.
While such relationships exist, the notes serve different
functions. Your F, for instance, is the root note of the
four chord in C. In Am, it's the third of the fourth chord.
Same notes, but they're all doing different jobs.
Dave
_________________________________
www.elkriverharmonicas.com
----- Original Message ----
From: Winslow Yerxa <winslowyerxa@xxxxxxxxx>
To: Harp L Harp L <harp-l@xxxxxxxxxx>
Sent: Tuesday, October 6, 2009 12:17:49 PM
Subject: RE: Subject: RE: [Harp-L] Figuring Sharps in Keys -
Why A minor is is different from C major
A minor and C major may use the same notes, but that doesn't
make them play or sound the same.
Even though the notes are all the same, and even though
they're in the same palces on the harmonica and take the
same actions to get from one to another, they're still
completely different.
Different how?
As soon as you shift the tonal center from C to A, you hear
A as the tonic, or the 1. The place everything starts from
and returns to , the tonal center of the universe.
So you now hear your tonal center in a place that is (on
chromatic harmonica in C) Draw 3 or Draw 7 or Draw 11
instead of Blow 1, 5, and 9. The second degree of the scale
is now Draw 4 or 8 or 12 instead of Draw 1, 5, or 9. and so
on.
When a note sounds different because of its context, it also
feels different to play. Your ear plays a part, not just the
muscles that are executing the actions. Your ears have to
get used to hearing these notes as having a different
meaning in a different tonal context.
Not only do the scale degrees change locations (and the
actions to move between those locations) they also change
quality. The 3rd, 6th, and 7th degrees of the scale all
sound different because they're minor.
And that's just using the A natural minor scale, with all
notes being the same as C major. Then you can start altering
the 6th and 7th degrees of the scale to get other types of
minor.
Any exercise that you did in C major starting on the first
note of the scale can be transposed from C major to A minor.
let's say you start on C and play 1-2-3-1 (C-D-E-C). When
you play this in A minor, you start on A and play 1-2-3-1
but it comes out A-B-C-A.
I could go on and on but I think you get the picture
When you practice
Winslow Yerxa
Author, Harmonica For Dummies ISBN 978-0-470-33729-5
--- On Tue, 10/6/09, Clayton Gary Lehmann <hqr@xxxxxxx>
wrote:
From: Clayton Gary Lehmann <hqr@xxxxxxx>
Subject: RE: Subject: RE: [Harp-L] Figuring Sharps in Keys
To: "'Rob Paparozzi'" <Chromboy@xxxxxxxxxxxxx>
Cc: "'Harp L Harp L'" <harp-l@xxxxxxxxxx>
Date: Tuesday, October 6, 2009, 8:12 AM
With all due respect--
Isn't practicing C major the same as practicing Am?
Unless you are playing some mode of Am other than the normal
one?
Gary
-----Original Message-----
From: harp-l-bounces@xxxxxxxxxx
[mailto:harp-l-bounces@xxxxxxxxxx] On Behalf
Of Rob Paparozzi
Sent: Tuesday, October 06, 2009 7:21 AM
To: Steve Merola; harp-l@xxxxxxxxxx
Subject: Re: Subject: RE: [Harp-L] Figuring Sharps in Keys
Steve...
Great advice from both you and Mr. Morgan!!!!!!!!!! I
concur....
best,
Rob P
----- Original Message -----
From: "Steve Merola" <stevemerola@xxxxxxxxx>
To: <harp-l@xxxxxxxxxx>
Sent: Monday, October 05, 2009 5:40 PM
Subject: Subject: RE: [Harp-L] Figuring Sharps in Keys
Hello Harp-l
Try practicing one scale a week. For 1 week only play the
C scale. Don't
play any other scales. Next week the relative minor, Am,
and so on. This
method was described to me by Tommy Morgan.
In 3 months you WILL know them all. It beats the heck out
of guessing for
years.
Steve Merola
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_______________________________________________
Harp-L is sponsored by SPAH, http://www.spah.org
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