Q. If I play a chord, like F major and A minor, how do I know/find out what scale works for those two chords? I'm not entirely looking for the answer to this example, but I'm more interested in being "taught to fish" so to speak. Thanks.
A. youtube.
A scale has 8 notes in it, and three of them are in the chord that has it's name.. except if the chord's a minor..
Am uses the C scale, F uses the F scale, G uses the G scale.. Em uses the G scale too..
So..
The C scale is the notes c, d, e, f, g, a, b, c..
doh, re, mi fa so la ti doh..
These are the white notes on the piano, starting with the one that's just left of the group of two black ones..
The black notes in between are sharps or flats in the C scale..
So the piano goes
c, c#, d, d#, e, f, f#, g, g#, a, a#,.b, c...
Notice some of the notes don't have a sharp between them... true of any scale... the amount of space between each note in the scale is called the interval, most are two spaces, or semi tones.. some are one.. Each scale has the same pattern, starting with the name note of the scale..
For today... learn the C scale.. then go to youtube, and look for more.. or you can probably find diagrams.. and there are people who will show you places to put your hand to make scales...
A chord.. is the first, third and fifth note in the scale.. ie, in the C scale, the chord notes are C, E, G, repeated in the chord...
On the guitar, C is third fret on the fifth string [second fattest one] D is the fourth string open, E is fourth string second fret.. F is fourthe string third fret.. G is the third string, A is third string second fret, B is second string, and C is second string first fret....
Now... put a capo on the guitar, on the second fret, and play the same scale.. it's a D scale here... though you can to it without the capo...
D is the fourth string.. you can find the scale by counting up... the same intervals as in the c scale...
the intervals in semitones, starting from the name note..
D+2,+2+,1,+2,+2,+2,+1 will get you back to D... do it all on the D string... think of each fret as an interval, semi tone.. So.. D is open string.. next note.. 2nd fret..
What is the proper fingering in playing piano arpeggios?
Q. For example:First, you play C E G(C major chord) in the left hand and the next C E G for the right hand,then C E G again with the left hand.I've seen many players do this.Is it okay? or still the "Thumb-Index-Middle" Rule?
A. Ok, it's different with every arpeggio, it depends on what inversion you are doing, how many white key/black keys etc.
Let me break down the fingering,1-thumb 2- index 3- middle 4- ring 5- pinky
Group1:C maj, Gmaj, Fmaj, Dmin, A min, E min
Root:1231(RH)5421(LH)
FirstInv:1241(RH)5421(LH)
SecInv: 1231(RH) 5321(LH)
Group2:Cmin, Gmin, Fmin
Root: 1231(RH) 5421(LH)
FirstInv 2124(RH)4214(LH)
SecInv:1231(RH)5321(LH)
Group3: Dmaj, Amaj, Emaj
Root: 1231(RH) 5321(LH)
First Inv: 2124(RH)4214(LH)
Second Inv 1241(RH) 5321(LH)
Group 4: F sharp maj
Root: 1231(RH)5321(LH)
FirstInv:1241(RH) 5421(LH)
SecondInv:1241(RH)5321(LH)
Group 5:F sharp min,E flat maj C sharp maj, C sharp min, A flat maj,A flat min
Root: 2124(RH) 2142(LH)
FirstInv: 1241(RH) 5421(LH)
SecInv: 2421(RH)4214(LH)
Group 6:B Maj
Root: 1231(RH)5321(LH)
First Inv: 2312(RH)3213(LH)
Second Inv: 2123(RH)3132(LH)
Group 7: B flat min
Root:2312(RH)3212(LH)
First Inv:2123(RH) 2132(LH)
Second Inv: 1231(RH)5321(LH)
Group 8: B min
Root:1231(RH)5421(LH)
First Inv: 1241(RH) 5421(LH)
Second Inv: 2123(RH)4214(LH)
Group 9: B flat maj
Root: 2124(RH) 3213 (LH)
First: 1241(RH)5421(LH)
Second: 1241(RH)5321(LH)
Before i asked a question on double flats and sharps, why not just write what your supposed to play ?
Q. With the double sharps and flats, I ask myself WHY?!? Instead of writting G double sharp why not just natural A? Triple and quadruple sharps and flats? People PLEASE!! I know it concerns music theory and all, but can annyone shed a bit of light on this subject? In plainest terms please!
A. The section after this first one is about triple sharps and flats. I figured that I might as well answer the main question in simple terms since I posted in here.
If you don't use double sharps or double flats, then music gets even more confusing than you think. Sure, some of us understand what you are getting at with this question. You want an enharmonically equivalent note that is simpler to read.... but this makes no sense at all if you are looking at chords (string music, piano music, etc.). Your "easy to read" notes make chords look completely dissonant when, in fact, they are pleasant chords.
The Doctor's example is good here. If we were to cater to you and spell the Gb minor chord as Gb, A, and Db, then it would look like like a sus2 chord - a chord with a dissonant second (in purer Classical music this dissonance is arrived at via non-harmonic tones - in this case the appogiatura or retardation would be appropriate). The performer would not immediately recognize such a chord spelling, and would assume that the composer had meant for some strange dissonance; however, the chord is simply a Gb minor triad. Nothing more, and nothing less. If you think about this example, you might understand why double sharps and flats are absolutely necessary when it comes to stacking chords. They are also necessary in voice leading (the creation of individual musical lines and parts).
I decided to show you this example (so I wrote it out in Finale for you):
http://img26.imageshack.us/img26/1655/finout.jpg
edit: The fact that the above example can resolve to some other chord does not make it any less awkward.
Let's also assume that Gb minor is the vi chord and that I doubled the third because it was necessary =). I wrote it in bass and treble clef just in case the poster can only read one or the other.
Others have already elaborated on why you need double sharps or flats for voice leading purposes.
* * * * * * * *
The reason that you don't see triple sharp or triple flat more often is because they are only needed when you have a key signature full of sharps or flats.
It makes theoretical sense. If you have C# major as your key and you build an augmented chord on the Leading Tone (B#+), then the best theoretically correct way to spell it is B#, Dx, and F#x (F triple sharp).
This is the only example I can think of, so that is probably why it is not generally taught or accepted. That is why they are only used in modern repertoire on rare occasions. But - nonetheless - I have SEEN them in real music. Therefore, they surely exist. Triple sharps have been published in music, therefore they exist.
You can deny it and say they don't exist because they only have 1 or 2 uses. That is fine. I don't mind.
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