Blog Archives

(not so) SPOOKY scales - Eb and Bb

10/31/2013

We did a lot of work on Hornpipe which is sounding much better. We’re aiming for a rendition with crisp notes, played in the 3/2 march-like tempo – 1 & 2 & 3 &. Practice the difficult measures (23-25), shifting fingers when necessary. Focus on one section at a time until you can play it well, then move to the next section. Also practice the Eb scale and the Eb scale in thirds.

In the Hall of the Mountain King is also coming along. Again we’re looking for crisp notes for this piece in the key of Eb. Practicing the scale first can make it easier to play the piece.

We’re still struggling with Round 90 – please practice the notes this week so we can play it as a round. This is good practice for ensemble playing where you listen to yourself, listen to one another and watch/listen for the tempo. If you can play it well, move on to Round 91.

Review the Bb scale (both the scale and in thirds) before playing Theme from Abdelazer in Book 3, p. 28. If you have the recording, play the chords with a light, on-beat strum.

Shine on Harvest Moon and 4 Strong Winds are songs you can add to your “repertoire” if you like. We won’t be playing these in class.

Finally, practice those pentatonic scales. If you are planning to participate in the Blues workshop by Michael Gonzalez, these scales will help prepare you.

And, have a HAPPY and safe HALLOWEEN!

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Hornpipe and Latin Time

10/23/2013

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We may not have made it through Evelyn's lesson plan, but I think we did get some good work done.
Begin your practice this week by working on the Eb scale and the Eb scale in thirds. If you don't find your page of scales you can print one from the exercises page. It just says "scales - 2 pages"

Continue working on Hornpipe (book 3), especially on the challenging measure (23-27) giving special attention to the fingering. Shift up to the 5th fret at measure 23 and stay there until the middle of measure 27, playing the notes across the strings.

Continue working on the Hall of the Mountain King - picking the notes and playing the chords in the key of Cm that we worked out in class. (Cm, Fm, Gm, Bb)
Play Latin time (book 2) for fun and try to play it without the music.

And, try the chord melody version of Happy Birthday if you like.
Also for next week, practice Round 90, Demantius
For information on the Intro to Blues workshop November 16, with Michael Gonzales click here

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Circle of 5ths - And why we love it

10/17/2013

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How Does the Circle of Fifths Work?
First, everything starts from C, since C is the key in which there are NO sharps or flats.
As we move clockwise from C, each note is a fifth above the last. So G is the fifth of the C scale, D is the fifth of the G scale, and so on.
Starting with G, each new key going clockwise has one more sharp note in its major scale.
If we move counterclockwise from C, each note is a fifth below the prior note. And, just as with sharps, each scale to the left of C adds a flat note.

What Does the Circle of Fifths Do for a Musician?
First and foremost, it gives us a quick visual reference to a lot of information about all 12 keys in music.
Again, C is the reference point, but these concepts will apply for any key.
We already know that G is the fifth of the C scale. In the Circle of Fifths, the fifth note of the scale always sits just to the right of the root note.
And we already know that F is a fifth below C. But we should also note that the fifth note below any root note is the same named note as the fourth note of the key scale.
OK, sounds confusing, so let's break it down. Here's the C scale in two octaves: C D E F G A B C D E F G A B C
Using the middle C as number 1, count down (left) to the fifth note. Is it F? Should be. Now count up (right) to the F note. Is it the fourth note? If not, you miscounted. So now we know the following is true:
5th below Root = 4th above Root

What is a relative minor?
The relative major and minor scales have the same key signature (share the same notes). The circle of 5ths gives us an easy reference for finding these related keys because the relative minor is inside the circle directly below it's relative major. Notice when play chords how similar a major chord is to it's relative minor. F to Dm, for example or
B to Gm. You can often substitute a relative minor chord for the major. Try playing a song and use an Am in place of a
C, or Dm in place of an F. Because the scales use the same chords, the chord harmonies will still work, although it may give the songs a different feel.

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October 1, 2013 -

10/6/2013

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Tuesday we first worked (as we should every day!) on the pentatonic C scale, the C major scale, and the F scale up the neck. For homework, starting on the C string, figure out the notes for the Eb scale. See if you can do it without referring to a scale chart. Remember that it is the same pattern as the C scale.

I hope that using a pick is getting easier. Hold the pick in the most relaxed position that you can without dropping it and still be able to get a nice tone from the string. Experiment with the area around the sound hole (away from the fretboard) to see where the best sounding notes are on your instrument and “aim” your pick there. This could require shifting your uke slightly.

Practice tremolo flatpicking as illustrated in Book 3, p. 48. Next week show me your best tremolo. It’s used in the outro ofYellow Bird.

The “Calypso” strum on Yellow Bird is supposed to have the feeling of swaying palm fronds. Try dragging your thumb or finger slowly across all the strings on the second down-strum. You don’t have to use this in every measure, but it can add some variation to the Calypso strum. Work on strumming and singing Yellow Bird.

We’ll play Elenke next week using picks, and we’ll alternate playing Uke I and II.

Next week: Special guest.
See you then. As always, you can email or phone if you have any questions.
Evelyn
734-1792

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(not so) SPOOKY scales - Eb and Bb

Hornpipe and Latin Time

Circle of 5ths - And why we love it

October 1, 2013 -

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