Episode 10: Scale Theory

Hello and welcome back!

Sorry I haven't posted in the actual episodes in a while, but college seems to keep me busy no matter which way I turn. But today, our lesson is to explain what a scale is and give you some to practice!

First off, we need to figure out how to define a scale. A scale is a series of notes in an ascending or descending pattern. For example, let's start with the note C. There are many different scale involving the letter C but they have to follow some kind of pattern. As I said before there are many different types of scales, but the over all feel is there are two basic scales: a major and a minor. Just like they sound, the major scale sounds brighter than the minor. The whole understanding of scales goes back to understanding intervals, which was the topic of the last two episodes (episode 8 episode 9).

The basic progression of a Major scale is W W H W W W H, where W is a whole step and H is a half step. Now let's apply this to a scale, and since the basis of all music is C let's develop a C major scale. It starts on C, then a whole step up would lead to a D (C#- D), followed by a whole step to an E (D#- E) but then we hit the half step in which we get an F. A whole step to G (F#- G), then an A (G#- A), followed by another whole step to B (A#- B) and then we have our last half step back to C. So a C major scale is C D E F G A B C. Now, let's do another example with F. Start with the note given, and follow the intervals above. So a whole step above would be G, another whole step to A but then we get to the half step which we use Bb. Now we need another whole step to C, another whole step to D a final whole step to E and then the half step back to F. So the scale is F G A Bb C D E F. Ok, let do one last example with G. Follow the guide and you should get G A B C D E F# G. The F# in this example and the Bb in the previous one are ways to indicate a key. F# is the only sharp and the rule of key signatures is take the last sharp and raise it a half step. The trick to flat key signatures is take the second to last flat and that is your key, however the key of F is the only key that doesn't follow this rule. So if we went up to the next flat in the order of sharps and flats, it would be Eb but the key would be Bb.

Now the trick to minor scales is moving the pattern above back two spots. For example, the natural minor of C is A minor, and is played like C but starting on A. The same is true for the other scale above; the natural minor of F is D minor and the natural minor of G is E minor. The pattern is W H W W H W W. A minor would be  A B C D E F G A, D minor would be D E F G A Bb C D, and finally E minor would be E F# G A B C D E.

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How to Practice Episode 3 - Don't get frustrated

Hello, and welcome back! Sorry for the delay but between getting ready for college, graduation, and the simple uncanny timing of life's messages has put me back a bit!

Now, on to the lesson: Not getting frustrated from practicing and not getting results. I know how hard that is, practicing the Haydn Cello Concerto No. 1 for the past month and still can't play a simple line that shouldn't take more than one or two times through to be able to preform. There are just some things in life that will get you down, and you must put effort to keep going through them and continue to practice them. Always remember the music is nothing more than ink on a piece of paper, or pixels on a screen. If you keep putting effort towards the song and continue to work on it constructively then you will see progress. Here are some examples of breaking a piece down:

If you notice that the piece is getting higher than the range you know how to play is, then practice a scale that resembles that phrase, or find a scale that gets you to go that high. In my previous statement of the Haydn Cello Concerto No. 1, I have problems with the highest part of the song that seems unapproachable. However, when you break the phrase down into it's fundamental level it is nothing more than a G major scale so I practice a G major scale in 3 octaves, focusing most of my effort on the last octave in tune and getting vibrato on the notes. Start off slowly, then build yourself up to the speed of the piece.

If you notice that there is a rhythm that you can't seem to play, then use "tick" marks, or a / above each beat, or subdivided beat. This one can explained to cellist, using the Haydn, with the whole thumb position phrase that is heard multiple times throughout the piece. If you write in those marks above the 8th note beat (the song is slow, and is normally conducted in 8 instead of 4), then it will help to count the piece/ Once you write in the notes then work slowly counting by clapping the beat out loud with a recording or your teacher play the phrase.

If you don't feel like you are remembering the dynamics enough, or your director says you aren't playing them enough then take the song and look for all the crescendos and decrescendos and use a "hot" color (red, orange or yellow) to indicate the crescendos and a "cool" color (green, blue or purple) to indicate the decrescendos. Experts have proven that colors pop out at you subcontiously and you will be reminded to play them. My only suggestion is not to do this on originals.