Music Theory Study 1
Ok, I hate to even ask cause I know I must be just missing something. But here goes
Ex 1.5 (I've watch a couple times) If this isn't important thats fine it's just when I find something that doesn't match I have to find out what I've missed.
FACE is the notes in the spaces-correct? EGBDF are the notes on the lines, What's bothering me is EF are in both and sometimes show up on lines or spaces. I'm not trying to site read but for me, I need things to make since, now I'm looking and realize G is on the line and then later in a space.
I guess for me it's the acronyms that are giving me a fit cuase I want them to work everwhere, I look and they don't.
What am I missing?
Thanks!
great! I don't want to get to overly involved in the theory but without this answer it would keep me distracted as to why. Thanks for clearing it up. Moving forward on theory, for about the 3rd time, lets hope it's a charm!
Cool. By the way, Alfred's Complete Music Theory is a GREAT workbook.
Ok! Section 2 ex 2.5 I understand the "how to " make the Mixolydian scale and I understood the placement of most of the notes in the example, until we got to the 2 draw 1/2 step why does it go from 1st scale degree to the 7th instead of the b1(flated 1st) like the 2.4 ex shows. I'm assuming this answer will explain the 9 blow which I'm having same isue with.
I do understand that the 7th scale degree( in G Scale) is the F# flatted to F(from the C major scale), but to me in this case it seems that we are saying the 1st scale degree(in G scale) flatted a 1/2 step would go down a whole step??? thats whats killing me.
What am I misssing?
PS: I get confused just reading this, hope it makes sense
Since our premise is that we base our naming from the major scale and then alter it from there... F# (Gb) receives the standard 7 designation (major seventh is another way to look at it) and the F natural receives the b7 designation (due to it being lowered from the major scale... in this to create the b7th of the Mixolydian Scale)
Tell me if this is right!, the 2' labeled as the 7th scale degree is still Gb/F# ?? and the 2" being labeled b7 is F
Because when we placed scale degrees in the boxes for c major the 2 hole draw went G,Gb,F (I know Gb/F# incidentals) scale degrees went 5,b5,4 So this is why I'm thinking the 2' should be b1??
I'm not trying to difficult and I do get it now a little better just, Thanks!
"Tell me if this is right!, the 2' labeled as the 7th scale degree is still Gb/F# ?? and the 2" being labeled b7 is F."
Yes
"Because when we placed scale degrees in the boxes for c major the 2 hole draw went G,Gb,F (I know Gb/F# incidentals) scale degrees went 5,b5,4 So this is why I'm thinking the 2' should be b1??"
There is a half step between G and F in the key of C... so Flat-5, Diminished-5th, Augmented 4th, etc. are all good (all this is based on context and is best explained in a college-level music theory class... we'll just say Flat-5). Since G is the ROOT in this case, and F# IS the 7th, we call it what it is, the 7th.
Don't feel dumb by the way... it takes a lot of time to sort this all out... the rules... when to break the rules, etc.
We break rules!!!, I better hang on. I'm not going to tell you I'm "solid" on this, but I'm moving past it in hopes that the more I study the clearer my understanding will become. I've done some independent study (not much, always got lost early on) But have determined that I am going to get this, once and for all.
You've taken the time to put this great study guide together, I'd be a fool not to take advantage of it. So I'll press on and reread your answers along the way till the lights come on.
Thanks!
Ok, just got it!
In G Mix scale b7 = F (natural) which is a whole step down from G hence 2" = b7 = F
and the F# is called the 7th from the previous scale (G major)and it's a half step down from G hence 2' = F#/Gb = 7th
Ok!? Wow whats so difficult about that!? (I asked myself)
Thanks!
More awareness, part2;
The 7th doesn't exit in the G-Mix scale, only as a note on the harp and thats what was throwing me, now I'm hearing the lessons when you said "the G-mix doesn't have a F#" or something like that. So calling one the 7th-F# becuase it came first (in the Gmajor scale) and the other one the the b7 because it came second and is down a half step but shares the same scale degree. I got it!! Sweet
Thanks! again!
It takes a lot of sources over time... just enjoy the journey and keeping investigating. Get the Alfred Music Theory Complete as well... it's a great added tool.
Great. Always keep in mind that we reference the major scale when we say "flat this" and "sharp that."
In MTS3 you mention the things we should commit to memory. One of the things is the layout of the notes on the "C" harp.
My question is "Should I also memorize the Scale Degrees of each hole as laid out on harp?"
Thanks!
Eventually, yes... but we'll do this for 2nd Position since it's our most common position... our home language as it were.
Yes, please ask these questions... that's what I'm here for! Yes, FACE are the notes in the spaces on the staff. EGBDF are the notes on the lines, on the staff. You're correct, a note found in different octaves will be on a space or a line, depending on its octave. Get rid of the pneumonic and start with G being on the G line (that's what the treble clef is denoting) and go up the alphabet as you go from space, to line, to space, etc., and then down the alphabet as you go down. Is the idea that a note retains the same name if it is octave(s) higher or lower.
btw, there used to be only ONE line in music notation... a red line... as time went one we eventually arrived at the common five lines today.