 The Clarinet BBoard
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Author: seabreeze
Date: 2014-08-26 04:27
Want to practice a different scale each day for more than a year?
For a free collection of no less than 399 different scales drawn from music across the world, beyond the familiar major, minor, chromatic and whole tone patterns, see
http://www.saxopedia.com/wp-content/uploads/2014/06/The-Scale-Omnibus-1.02.pdf.
Check out the Dorian Pentatonic, the Kokin-Choshi, the Ritusen, the Man Gong, the Ako-Bono, the Han-Kumoi, the Bebop Locrian, and the Raga Hindol, to name a few.
My thanks to the Steve Neff sax blog for this link.
Post Edited (2014-08-26 09:11)
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Author: Barry Vincent
Date: 2014-08-26 10:23
The one 'scale' I don't see is the one which has 3 semitones between each note. Listed is the Chromatic Scale (semitone between each note) . Whole Tone Scale (2 semitones/tone between each note) But not the scale that has 3 semitones between each note
Of course we recognize this 'scale' as the Diminished 7th chord which is only found on the leading note of the Harmonic Minor Scale. Therefore :-
Chromatic Scale / 1 of.
Whole Tone Scale / 2 of
Diminished 7th 'Scale' / 3 of ( C Eb F#(Gb) A ) ( C# E G Bb ) ( D F Ab B (Cb))
Or maybe it is listed but I just haven't seen it.
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Author: mnhnhyouh
Date: 2014-08-26 11:26
It isnt in there. There is an appendix at the back that lists the scales in order of intervals, but the list is broken into groups determined by how many notes are in the scale.
The smallest scales are those with 5 notes. (pg. 431)
Page 5 has this paragraph that explains why your scales are not in there:
First, only scales with five or more notes are included. The rationale here is that scales with four or fewer notes – there are “scales” with just two notes! – may be of interest to a musicologist but are inadequate for
modern compositions and improvisations.
h
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Author: seabreeze
Date: 2014-08-26 20:32
For plenty of practice in the diminished 7th arpeggio, see the Carl Baermann Method, Books 3, 4, and 5.
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Author: Paula S
Date: 2014-09-02 00:44
Many thanks for this ! It adds diversity and different challenges that one may not encounter with 'traditional Western scales. I had fun and had to negotiate many fingering patterns I would not have tried otherwise. Very useful when you 'happen upon' them in some repetoire.
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Author: Katrina
Date: 2014-09-02 01:19
I know the author states in the introduction two things: 1) That many of these scales provide a Western musician with opportunities to "'borrow'" them. 2) That microtonal scales aren't included.
These 2 things really bug me. First, at least an attempt to acknowledge the use of these scales/makams/ragas/modes in their home culture can provide the Western musician with a better background of how to use them. I also suggest that instead of "borrow" that the author would use the more apt (and, yes, judgmental) word "appropriate."
The few Middle Eastern Makams that I have had _very_ minor experience with are, crucially, different when descending or ascending. And yes, they use specific pitches "between" the keys on a Western keyboard. Sometimes two different "E's" in the same scale!! IMO, this is an inherent part of the scale, and NOT something that should be "Westernized."
My (judgmental) $.02.
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Author: seabreeze
Date: 2014-09-02 22:09
"Adopted with significant modification and little regard for original context" or "stylized" and "hybridized" would probably be the most accurate way to describe what the compiler of 399 scales has done. But artists have always done this to advance the goals of their particular art. Just as architects and artisans, especially in older style buildings do not usually aim to give a botanically correct rendering of flowers or leaves in their filagree, but rather craft a "stylized impression" of a rose or a vine or acorn into their bas-relief, musicians make up "stylized" scales that do not accurately represent the culture from which they are taken but do open up new directions for linear exploration and, in the case of the clarinet, increase finger technique, probably establish new neural patterns in the performer's brain, and, most importantly, give pleasure when played and heard.
John Coltrane's famous soprano sax choruses on "My Favorite Things" are without question drawn from a melange of cultures, including Indian ragas and many types of African music, but he takes liberties with the non-Western patterns and does not commit himself to an "authentic" performance of his Western show tune that would faithfully follow the expected patterns of his non-Western "influences." An authentic performance would have had McCoy Tyner playing the delicious ostinato part on the Kalimba (African thumb organ) rather than a Steinway piano, for instance. Debussy and Ravel did much the same when they adopted or hybridized the whole tone scale and some pentatonic scales from the Balinese gamelin. Native gamelin playerswould of course think "that's really not the way we do it" but they might still learn to like the hybridized, stylized version too. What did the Turks think of Mozart and Beethoven's stylization of their marches with kettledrums?
If the goal were to adapt the clarinet to non-Western cultures (rather than adopt isolated patterns with modification) , that would be an immensely larger and more difficult enterprise. I doubt that anyone who worked hard enough to accomplish that would offer the results for free on the Internet: "399 Duets for Clarinet and Sitar or Clarinet and Koto?" Or "How to Authentically Perform the Music of 399 Different Cultures on the Clarinet, with Critical Commentary and Correction by Native Masters" Such an adaptation to musics of the world would take several lifetimes.
Even within the familiar scales and chords of traditional Western music there is plenty of room to increase fluency by practicing unaccustomed variations. Buddy DeFranco's adaptation of Hanon's fingering exercises for piano in "Hand in Hand with Hanon" is one example (unfortunately out of print), and Prinz's "Twenty-Five Etudes" (in print and reasonably priced) is another. Clarinetists used to playing their scales in the familiar (and very useful) patterns of Baerman, Jettel, and Hamelin may trip over the patterns they encounter in Prinz's preparatory etudes for Strauss's Rosenkavalier, Prokofiev's Peter and the Wolf, Schuman's Symphony No 1, Rimsky Korsakov's The Golden Rooster, and Leoncavallo.
Post Edited (2021-10-29 01:54)
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