In the last blog, we carefully introduced the importance of major scale exercises and their practice methods. Many students said that although there are many major scales, it will not be very difficult after practice. Of course, many students think that their spare time is not much, so the progress is still not obvious. If your practice time is not enough, please try to practice only 2-3 major scales at a time, but the premise is that you should play these scales skillfully and carefully, so that your learning progress will be steady.
This week, we will continue to explain the methods of scale practice. Since we introduced the major scale in the last blog, we, Six Months Rebellion Music, will introduce the minor scale and its practice methods in this blog. I hope you can learn more knowledge and improve your performance through our sharing.
Many students may have encountered such a situation:
When playing C minor, the key sign clearly shows that si, mi, and la need to be reduced, but why do so many restoration marks appear in the phrase? What do these restore marks represent? What should we pay attention to when playing such a phrase?
In fact, you should not be too nervous in the face of such a situation, because the problem you have is just the "regular operation" of scale practice. This problem occurs only because you play a c harmony minor instead of a c nature minor.
Natural minor, harmonic minor and melodic minor:
In fact, we usually play minor scales, in addition to natural minor and harmonic minor and melodic minor. Some students will be curious: will there be these classifications of major scales? The answer is: Yes. But when we practice the major scale, we usually practice in natural major, so we rarely have this problem.
The natural minor is one of the two major modes commonly seen in contemporary times, and the other is the natural major. If we take a minor as an example, the interval size relationship between a natural minor is: whole tone – semitone – whole tone – whole tone – semitone – whole tone – whole tone.
Of course, harmony minor is also a common type of minor scales, and you will often see and practice harmony minor scales. Different from the natural minor scale, the seventh tone of the harmonic minor scale needs to be raised by half a tone, which is why the c harmonic minor scale we introduced earlier needs to raise the si by half a tone. Its interval size relationship is: whole tone – semitone – whole tone – whole tone – semitone – augmented second – semitone.
Melodic minor is the most complex mode. We must pay special attention to it when playing. Because when playing the ascending scale of melody minor, we need to raise the sixth and seventh levels of the score by half tone, but when playing the descending scale, we need to make a vow to the sixth and seventh levels. That is to say, when playing the downward scale of melodic minor, we regard it as a natural minor scale to play. Only when playing the upward scale, we need to make changes. This is also the music feature of the Baroque period and the classical period.
In the last blog, we introduced two interesting ways to practice scales. Do you use these two ways to practice? These two methods can also be used in the practice of minor scales. At the same time, we will introduce another practice method for reference.
Today, we will introduce a new practice method with the scale of c minor as an example: