Produced for WHS AP Music Theory http://goo.gl/vr5mA
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A closer look at solfege and how it applies to the major scale, the three forms of minor and chromaticism
Listening to Music (MUSI 112)
This lecture explores the basic nature of melody. Touching on historical periods ranging from ancient Greece to the present day, Professor Wright draws examples from musical worlds as disparate as nineteenth-century Europe and twentieth-century India, China, and America. Professor Wright puts forth a historical, technical, and holistic approach to understanding the way pitches and scales work in music. He concludes his lecture by bringing pitch and rhythm together in a discussion of Beethoven’s Ninth Symphony.
00:00 – Chapter 1. The Nature of Melody
02:37 – Chapter 2. The Development of Notes and the Scale
14:43 – Chapter 3. Major, Minor, and Chromatic Scales in World Music
33:03 – Chapter 4. Pitch and Rhythm in Beethoven’s Ninth Symphony
LESSON HANDOUTS /TABS:
Andrew Wasson of Creative Guitar Studio answers a viewers question…
Q: I am a new subscriber and your lessons are helping me a lot… I cannot thank you enough!
My question is, Can you please cover the Harmonic Minor Scale. I keep hearing about how it is so widely used but after playing it, I cannot seem to get it to sound good over anything. I mostly would like to know where and when I am supposed to be using it. My favorite style of music is the contemporary jazz style. I purchased your album off of your web site and I’m sure that I hear you use it in your music. By the way I love your album. Hope you make another one soon.
Zack Paris, France
Andrew Wasson of Creative Guitar Studio answers questions from off of his Guitar Blog website…
Q). One problem I’m having when studying scales is that I don’t fully understand how to apply them. Especially, exotic scales. So, could you go through how a guitarist should approach this? Maybe, run through a scale for me I’m studying now, it’s the, “Egyptian Scale.” Thanks Andrew!
Gus — Germany
A). The idea of practicing new scales (whether they’re exotic or not) has a lot to do with having a solid entrance approach with new scales. There’s a 3-Step process I like to use to help my own students with learning scales. Eventually this idea can be adapted to learn any new type of scale.
The method begins with that of pattern recognition, so practice the heck out of your scale shapes all over the neck, in all keys… Also, you must recognize that every scale has it’s own unique harmony, (harmony = the chords that come from the scale you’re studying). Ultimately, there comes the creation of short chord progressions that you can jam on over & over again to attain your; licks, lines, runs, musical statements and ideas. Down the road the scale will become well engrained and very easy to create melodies with!
Thanks for writing in.
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Andrew’s Official Q & A Guitar Blog Website:
Andrew Wasson of Creative Guitar Studio answers a viewers question:
“I am more or less a beginner guitarist and I am hoping that you can help me with a good explanation about something called Musical Key Signatures.
So far, all I keep reading about is some concept to do with it called the, “Clock Theory.” It seems to be used all over the internet, but I just don’t get a number of things to do with this whole topic such as:
1). Why do we have to know about Key Signatures?
2). What can learning about this stuff do to help my guitar playing?
3). What does it all have to do with a Clock? It seems like most of the explanations online keep showing a clock. I just don’t see how music keys relate to clocks?
Thank you for considering my question,
Jacob – Halifax, NS. CANADA
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