Re: [Harp-L] Recommended Scales on chrom?

Philharpn@xxxxxxx · Tue, 22 May 2007 22:50:18 EDT

The conventional wisdom to this question is to learn all the stuff you will 
need. At first glance, learning keys by the Circle of Fifths or Circle of 
Fourths seems to be a logical method.

The better way, is to take small bites into musical concepts. Focus on just 
one scale to start --C -- the universal "easy" scale that has no flats or 
sharps. (Accidentals don't count!?)

This way you can "see" or "learn" what a major scale is, what a minor scale 
is, what a pentatonic scale is and what a blues scale is. 

And you're only learning on thing at a time. And not getting frustrated.

And your ear is learning what they sound like. So at some later point, you 
NEED to learn a Bb scale, if you master the C scale -- you will already know 
what a major scale sounds like -- and you can figure it out after you start on 
the first note--Bb.

If you start with a C scale, it's built into your harp. Start on Hole 1.
1. major C (A minor)
2. pentatonic C (A minor)
3. blues C

Otherwise, you are setting up a virtually impossible (actually, a really 
impossible) task. And you will spend a lifetime just learning scales you will 
never use. Better to learn a few easy scales in their varieties: major, minor, 
pentatonic, blues and what they sound like so you make your own scales for the 
keys you need.

* Learn the C scale. 
If you learn the C major scale for two octaves you already know the A minor 
scale (same notes as C scale, only it runs from A to A instead).

*Learn the C major pentatonic scale. C D E G A 
If you learn the C major pentatonic scale, you know the notes for A minor 
pentatonic. A C D E G 

Learn the C blues cale. 
If you know the C major pentatonic scale, C D E G A, the blues scale changes 
a few notes: C Eb F F# G Bb.

After you finish with the C scale, start on the F and G scales because they 
have only one black key. And if you don't have a piano keyboard, get one. They 
only cost $50-$100. A piano keyboard is the most logical way to figure out 
music because the piano keyboard was designed to fit the musical system. Why do 
you think there is no black key between E&F and B&C? That's the way music 
works. that's why.

The reason you use the F and G scales next is two fold. They are easy and 
almost the same as C. They also give you an easy way to test or prove that what 
works for the C pentatonic works for F and C as well without getting into any 
tricky translation problems.

If you want to hear what these scales sound like, there are a few hundred on 
the web. Just search and listen. 

The real issue is not to get overwhelmed with all that is out there.   Like 
Robert bonfiglio says, learn a scale a week. But you don't want to spend your 
practice time just doing scales. You want to play tunes and rhythms and other 
stuff, like figuring out tunes by ear.

Hope this helps.
Phil Lloyd

In a message dated 5/22/07 9:10:46 PM, plavio@xxxxxxxxxxxx writes:

> 
> Not as hard as you might think provided you learn scales in the right order
> although you probably know this, might be useful for someone. First 1 sharp,
> then 2, then 3, then 4 , etc.
> 
> C, G, D, A, E, B, F#, C#
> 
> then flats
> 
> F, Bb, Be,â
> 
> Doing it this way, you are just adding one sharp (difference) per scale.
> 
> As far as I'm concerned you can probably skip the 6 and 7 sharps (or flats)
> scales. But then you won't be able to say you know them all.
> 
> Have not tried this on the chrom or diatonic but I'm getting there on the
> piano, learning scales and associated chord inversions (both hands
> simultaneously), what is really surprising is that you never trip up.
> Somehow the fingers instinctively know what to do, no matter what scale I'm
> on. Oh sure I make mistakes, but its not reaching for the wrong note.
> 
> Now there is no blow/draw issues on the keyboard, but I suspect, that works
> itself out as you are retracing your steps from scales previously learned. I
> suggest you always learn 2 whole scales up and down.
> 
> Muscle memory is absolutely incredible. Baffling really, I don't know this
> stuff, but my fingers do.
> 
> Pierre.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> ----- Original Message -----
> From: "sean stephens" <thepriapist@xxxxxxxxxxx>
> To: <harp-l@xxxxxxxxxx>
> Sent: Tuesday, May 22, 2007 1:52 PM
> Subject: [Harp-L] Recommended Scales on chrom?
> 
> 
> > Hi folks,
> > I recently bought a chromatic book from Mel Bay,think the author is Bobbie
> > Joe Holzman.
> > Very comprehensive study of the chrome and quite user friendly,having said
> > that , he covers approximately 14 different scales on a C chrom and
> > speaking personally,even in a lifetime I could never learn off all these,
> > less commit them to memory!
> > My question is; aside from the Dorian (3rd pos stuff,which I love!), what
> > other modes would you quys suggest are the more important,/relevant scales
> > to work on.
> > I tend towards Smith,Clarke ,Delay etc but also appreciate Toots'
> > Bluesette for example and listening to Smith's "Peg",its clear he is
> > "pulling the trigger"occasionally ,ie not merely playing Dorian.
> > For instance,what modes would the Harmonica gangs (Rascals etc )have used
> > most frequently?
> > Any advice appreciated.
> > Sean
> >
> >
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