 The Clarinet BBoard
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Author: mnhnhyouh
Date: 2014-11-25 18:00
My aim:
To know from memory the
12 major scales
12 Dorian minor scales
12 Dom 7th scales
12 Pentatonic minor scales
12 Blues scales.
For the first three I also want to know the arpeggios for two octaves (maybe three for some of them).
What I have done so far:
I started with E major, learnt that, and this arpeggio:
13579 876543212345678 9753135797531
I do this arpeggio for the lower and upper octaves.
I did this twice a day for five days, and then added F major, and added a new one every five days. Each time I play everything I have covered so far.
When I got all the majors I started adding the dorian minors.
Tomorrow will be the 5th day on Bb Dorian minor so the day after I will add B Dorian minor.
Now I generally play them in order, Emaj Fmaj F#maj etc to D#maj, and then start the minors.
The altissimo notes are still giving me some problems so sometimes I start the major scales from D# and work my way down, and then back up the Dorians.
Yesterday I tried to do E major and then E dorian, but it got a little confusing. Today I tried E major then F# dorian (same notes) but this got a little confusing too.
I guess that while I can play them in order fairly well, I struggle when I move away from that.
Should I persist mixing them up? I was hoping to be able to do II-V-I sets.
What other suggestions do you have for me to achieve my aim?
h
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Author: nbclarinet
Date: 2014-11-25 18:54
What is you're objective? If you are not playing Jazz then the blues scales, dorian, and minor pentatonic might be better substituted for melodic minor, and major and minor thirds.
Or if your aim is to play jazz and apply these scales, then learn all of the modes of the major scale, followed by the modes of the ascending melodic minor scale
hope this helps
NB
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Author: Paul Aviles
Date: 2014-11-25 19:31
As far as mixing up scales, an old device is to get a set of playing cards and sharpie the names of the scales on the "non face" side.
You mix em up however many times as you want or just get them in a pretty random order and just practice that way over and over.
.................Paul Aviles
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Author: brycon
Date: 2014-11-25 20:16
Why practice the modes? You're already practicing them every time you play the major scale.
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Author: Dibbs
Date: 2014-11-25 21:17
try
1231 2342 3453 ... 7897 8768 7657 ... 3213 21-1(7)2 1
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Author: nbclarinet
Date: 2014-11-25 22:58
If you play jazz the modes become essential as a result of chord scale relationships. For example, the altered scale is the 7th mode of melodic minor. You hear jazz musicians use the altered scale all over the place
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Author: Buster
Date: 2014-11-26 08:21
As you're looking to learn modes of the Major scale, AND ii-V7-I's, why not combine the two pursuits in a more complementary manner?
This could begin with learning how the Dorian, Mixolydian (what you have termed "Dom 7th" scales?), and Ionian (or the Major scale played from the tonic) fit into a basic ii-V7-I progression. (You seem to already be actively traveling down this road, but, perhaps viewing matters from a different angle may help...)
If we take a ii-V7-I in C Major--- d minor to G7 to C Major--- we simply need to learn one Major scale starting on a differing degree.
Or written as best as I can in this medium: d minor requires D Dorian (C Major played starting on its 2nd scale degree), G7 requires G Mixolydian (C Major played starting on its 5th degree), and C Major simply needs a C Major scale played from its tonic.
----or---
D Dorian- DEFGABCD
G Mixolydian- GABCDEFG
C Major (Ionian)- CDEFGABC
Also you can incorporate the arpeggios based off these scales (to the 9th as you seem already be pursuing):
D Dorian- DFACE
G Mixolydian- GBDFA
C Major- CEGBD
If these scales and arpeggios are combined, we can play a basic outline of the ii-V7-I into C Major: (also termed "How I started to practice these")
DEFGABCDEDCBAGFE-DFACECAF-GABCDEFGAGFEDCBA-GBDFAFDB-CDEFGABCDCBAGFED-CEGBDBGE-C (a bit confusingly written I submit- perhaps I should have attached this on staff paper.)
[[[As an aside to the cognoscenti, I'll admit the resolution of the 3rd in the ii-chord to the root of the V-chord is somewhat awkward; I'd likely suggest a better connection down the road. Yet I think the movement of the 3rd of the V to the tonic of I to be spot on... Bach part writing still applies in good jazz navigation, no?]]]
As for linking ii-V7-I's ( and their associated scales) I can present one simple pattern I've used and taught. (Many other progressions exist)
dm-G7-CM... cm-F7-Bb... bbm-Eb7-AbM... abm-Db7-GbM... etc...
am-D7-GM... gm-C7-FM... fm-Bb7-EbM... ebm-Ab7-DbM... etc...
When it comes to differing modes of the Major scale, and further, modes of the melodic minor scale, they become important when half-diminished chords, "altered-dominants" and the like come in to play. (Nevermind the diminished scales...)
Suggesting that they be learned before the essentials of a basic ii-V7-I is grasped seems too far fetched to me.
Post Edited (2014-11-26 08:26)
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Author: mnhnhyouh
Date: 2014-11-27 04:32
Buster wrote:
> If these scales and arpeggios are combined, we can play a basic
> outline of the ii-V7-I into C Major: (also termed "How I
> started to practice these")
>
> DEFGABCDEDCBAGFE-DFACECAF-GABCDEFGAGFEDCBA-GBDFAFDB-CDEFGABCDCBAGFED-CEGBDBGE-C
> (a bit confusingly written I submit- perhaps I should have
> attached this on staff paper.)
>
> Post Edited (2014-11-26 08:26)
Thank you for that. That is precisely what I am aiming at. Didnt think to actually do them in the II-V7-I order.
h
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Author: brycon
Date: 2014-11-27 09:54
Quote:
If you play jazz the modes become essential as a result of chord scale relationships. For example, the altered scale is the 7th mode of melodic minor. You hear jazz musicians use the altered scale all over the place.
I'm aware of the importance of the modes. What I was wondering was why you would want to practice them out of context (i.e. chord changes), which results in you doubling-up and practicing the same scale several times.
Buster, the third of the ii chord resolving to the root of the V chord isn't so bad, is it? It is a little bass-liney, but what the heck.
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Author: katiemules1
Date: 2014-12-04 21:28
Try practicing with different patterns. Take straight eighth notes and swing them, place movable fermatas on the first or last parts of beats. Try using a metronome on these and playing on the off beat too. These will keep you interested and also help you TREMENDOUSLY when you apply it back to the original passage.
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