Happy notes? Sad notes? Happy melodies and sad melodies? I am curious.
What level student would go through this checklist and still think of
melodies and notes as being happy and sad?
By the way, Bobby Darin may have preceded Danny and the Jrs with Mack
The Knife and 1/2 step modulations in the category of pop music. He
certainly preceded Barry Manilow by 20 years on this count. I don't,
however, remember that either of the mentioned examples of the 1/2
modulation were considered revolutionary and I believe that they were
fairly common much earlier than you state.
I am a bit puzzled by what age group this section of your book is
actually aimed toward. I have worked with most age groups and I am not
sure what ages or what kinds of experiences would fit this particular
choice of options to determine the modulations to the closely related
keys. Who exactly is your audience here?
LJS
On Feb 26, 12:48 am, Neil <nhmil...@[EMAIL PROTECTED]
> wrote:
> On Feb 25, 1:28 am, Dylan <DDawso...@[EMAIL PROTECTED]
> wrote:
>
> > It seems like sclaes theory is quite im****tant for playing improv. so
> > I've got a few more newbie questions.
>
> > If I know the scale in C, is there a rule I can learn for changing
> > keys?
>
> > Why does the minor scale have flattened 3rd, 6th and 7th notes?
>
> > Kind regards
> > Dylan
>
> I would have to copy and paste half of my book -- THE PIANO LESSONS
> BOOK -- to answer all you're asking about, but here is one excerpt
> that should help on the subject of changing keys --
>
> THE OUTLINE OF MUSIC
>
> ANALYZING MUSIC
>
> SUMMARY OF MODULATIONS
>
> Now that you've studied some compositions and seen demonstrations of
> modulations, here is a
> summary of the most typical changes that occur in music:
> 1) From the Tonic Scale to a neighbor in the Circle of Fifths.
> Examples:
> a) A piece in the key of C Major would modulate to
> G Major (F#s would appear)
> or F Major (Bbs would appear).
> b) Other possibilities of this type of change include both keys being
> minor or one being
> major and one being minor.
> c) Also a change could be to the Relative Minor of a key neighboring
> the Tonic Scale, such as
> from C Major to E Minor (whose Relative Major is G Major -- G and C
> being neighbors).
> 2) From the Tonic Key to its Relative Major or Relative Minor.
> Examples:
> a) A piece in the key of C Minor would modulate to Eb Major. No new
> accidentals would
> appear, though you would notice --
> i) The melody sounding happy instead of sad;
> ii) The melody would resolve (sound concluded) on the note Eb instead
> of the note C;
> iii) The principal chords would likely be the
> I Chord, IV Chord and V Chord for the Eb Major Scale: Eb, Ab and Bb
> instead of the I Chord, IV Chord and V Chord for the C Minor Scale:
> Normal Minor: Cm, Fm and Gm;
> Harmonic Minor: Cm, Fm and G;
> Melodic Minor: Cm, F and G.
> b) A piece in the key of C Major would modulate to A Minor:
> For the Normal Minor
> i) no new accidentals would appear;
> ii) you would notice the melody sounding sad instead of happy;
> iii) the melody would resolve on the note A instead of the note C;
> iv) the principal chords would likely be the
> I Chord, IV Chord and V Chord for the A Normal Minor Scale: Am, Dm and
> Em
> instead of the I Chord, IV Chord and V Chord for the C Major Scale: C,
> F and G.
> For the Harmonic Minor
> i) you would see G#s;
> ii) you would notice the melody sounding sad and oriental instead of
> happy;
> iii) the melody would resolve on the note A instead of the note C;
> iv) the principal chords would likely be the
> I Chord, IV Chord and V Chord for the A Harmonic Minor Scale: Am, Dm
> and E
> instead of the I Chord, IV Chord and V Chord for the C Major Scale: C,
> F and G.
> For the Melodic Minor
> i) you would see F#s and G#s;
> ii) you would notice the melody sounding sad on notes 1 through 4
> and happy on notes 5 through 8 instead of happy on notes 1 through 8;
> iii) the melody would resolve on the note A instead of the note C;
> iv) the principal chords would likely be the
> I Chord, IV Chord and V Chord for the A Melodic Minor Scale: Am, D and
> E
> instead of the I Chord, IV Chord and V Chord for the C Major Scale: C,
> F and G.
> 3) a) From the Tonic Major to the Tonic Minor or
> b) From the Tonic Minor to the Tonic Major.
> Examples:
> a) A piece in the key of C Major would modulate to C Minor.
> For the Normal Minor you would see flats in front of B, E and A;
> For the Harmonic Minor you would see flats in front of E and A;
> For the Melodic Minor you would see a flat in front of E.
> b) A piece in the key of C Minor would modulate to C Major.
> From the Normal Minor you would see naturals in front of B, E and A;
> From the Harmonic Minor you would see naturals in front of E and A;
> From the Melodic Minor you would see a natural in front of E.
> 4) Up one half-step from the present scale.
> Example: A piece in the key of C Major would modulate to C# Major or
> Db Major.
> The half-step modulation was made famous in the 1958 song Rock and
> Roll Is Here To Stay,
> composed and sung by Danny and The Juniors -- in the final verse the
> key changes from G to Ab to
> A. Two decades later Barry Manilow made the half-step modulation one
> of his trademarks, using it in
> many of the songs he composed and recorded.
> Work all these examples through on the piano playing the scales and
> principal chords. With your
> understanding of modulations, you can take each composition you would
> like to learn, write in the
> key changes and chord symbols, and think of the progressions taking
> place as you are memorizing
> small, manageable sections.
>
> Neil Miller, author of THE PIANO LESSONS BOOK
> Enter in Amazon.com search: Neil Miller Piano Lessons Book
> ORhttp://www.createspace.com/3332371
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