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ELCBK said
@ABitRusty -
Enjoyed the video, helps - Thanx!
Had a little laugh near the end, where he says he wouldn't recommend composing anything in Mixolydian, because it would be limiting.
...all those Highland bagpipe tunes. 🎃
he is speaking from a chord progression standpoint.
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Arpeggios (at least 2 octave) should be talked about whenever discussing extended chords! I think it's a GREAT way to get used to hearing & playing extended chords on bowed strings!
I really want to thank @AndrewH - for bringing up some benefits of learning the Flesch 3 Octave Arpeggios in his "Adventures of an ambitious late-starter violist" blog!
Excerpts from "Scale Up Your Practice: Carl Flesch Distilled" (Violinist.com):
Galamian was an innovator and logician of violin technique. Carl Flesch, on the other hand, built his system upon the pedagogy of Otakar Ševcík expanding it as he thought the repertoire required. Everything in the Flesch scale system is immediately applicable to the most challenging passages in violin repertoire. Interestingly, in Galamian’s many editions of the standard repertoire he seems to adopt the Flesch approach to fingerings more often than those in his own scale system.
The [Flesch Scale] system covers scales on one string, the three-octave scale and arpeggio sequence and the double-stop sections. It can be practiced in less than 30 minutes, once learned. But, of course, this presents the rub: Learning it!
When I hear an extended chord, or see one notated, I want to automatically think of it as broken. AND, I'd like to be able to recognize the order of notes I'm hearing played. 🤔... oh boy, there goes the rest of my lifetime. (lol)
In hearing & identifying extended chord qualities - it's the sounds I'm interested in! 🤔... especially the ones that make me feel a sense of intrigue, or tension... like something IS going to happen! The complex 'feelings', evoked by extended chords give them purpose (to me) - it's EXCITING & what I want to be able to add to music!
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I'm guilty of only playing arpeggios randomly & not consistently. Found a couple different approaches in videos that really help 'me' connect the sound of playing the 2 octave (or larger) arpeggios to the scale & even the extended chord notation!
As more octaves are added, more of the fingerboard is used.
It makes sense to start these arpeggio exercises at the lowest pitch our instrument allows, like G on Violin & C on Viola/Cello - the goal being use the whole fingerboard.
...now THIS starts to get harry for me starting out, because I have my 5-string Violin strung FCGDA. I'm certainly not going to be able to find a video to follow for my Violin this way! I haven't had a chance to look for good Viola & Cello videos, yet. Think I'll start by just using my 5-string Viola (CGDAE) & not use the C for now - to practice along with this Julia Bushkova video I like!
For 'me' learning to identify what I hear & play, it's important that I'M BEING TOLD what scale the arpeggio is - I'm terrible with names & wish I had them in giant lettering before my eyes! Also, it helps me to SEE something (like extended chords) notated for it's qualities, and I want to be able to hear/check my intonation (like against Julia's playing) - throughout the exercises!
I LOVE that Julia shows 9 different arpeggios & talks about why, then near the end she also shows inversions - still starting on 'G'!
There's another approach - using drones.
I like this approach, too - even though I never cared for using drones with scale practice... for some reason it doesn't bother me here & actually helps with arpeggios!
This video is an introduction to IMTEX Online Media Library lessons - learning 3 Octave Arpeggios by using drones. I have not checked, but the video description talks about Viola & Cello versions. I'm still considering paying for a 6 month subscription.
Leah Roseman has a playlist collection of 18 individual '3 Octave Arpeggio' videos - major, minor, dominant, diminished, to play-along with.
She also has a little exercise for moving up each position to the 6th.
I'd like to find some good videos for Viola & Cello to work with - found a few... meh.
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I still want to pay special attention to diminished 7 chords & arpeggios, because of their use in the Blues & Gypsy Jazz.
Talked about this earlier in the thread, but see I didn't post these 2 videos I liked (from Outlaw Fiddle Jam)... might've posted them somewhere else, but good to go over.
I keep forgetting how cool the 1½ step intervals are here - that are unique.
🤔... answered my previous post question - so, fiddlers DO expect a bass or guitar to play the root (so they don't have to)!
VIOLA!
Diminished Arpeggios for Viola! (David Rose)
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David Rose has 2 more VIOLA videos I think are good to play along with, they are slow.
I'm a little disheartened that I CAN'T FIND ANY VIOLA videos of 3 Octave Arpeggios played like the Carl Flesch violin exercises (but starting on C) or like what Julia Bushkova presented. 🙁
I couldn't spend a lot of time on this yesterday or today, but I don't think I'm going to have as much trouble starting on my F string, as I originally thought - after I've gotten used to the arpeggios on CGDAE. I think my new little keyboard will be a tremendous help if I get stuck or screw up intonation. At least I've gotten the idea of the fingering & shifting from the videos.
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Seems like all I hear now are arpeggios!!!
I watched the "Bodies" series on Netflix this weekend (cool Brittish sci-fi/crime).
...what do you think the opening theme (by Jon Opstad) is made of?
Anyway, wanted to get back to thinking about how 7th & extended chords make me feel.
...can't believe I thought this video might actually be a good idea! 🤭
Btw, there's a few other chords included.
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One thing to be aware of for diminished seventh chords: all the intervals are minor thirds, including when going from one octave to the next. What this means is: a diminished seventh chord is the same chord in four different keys, which makes it useful as a pivot chord or for producing ambiguity about what key the music is in. That's one reason it appears so often in late Romantic music.
One good example that I can think of is measures 55-58 of the first movement of Brahms Piano Trio No. 1, which is about 1:50 into this video. (I'd recommend listening a little before and after it so you can really hear the effect.) In these four measures the piano stays entirely within a diminished seventh chord. This is a transitional moment, and the diminished seventh creates a certain unstable feeling. In the larger context, there has just been an unexpected E7 chord that seems like it's heading into a modulation to A major -- but instead the music goes into that diminished seventh passage and comes out of it in the original B major. So Brahms really uses the diminished seventh to drag out the anticipation of a modulation that doesn't happen.
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@AndrewH said:
One thing to be aware of for diminished seventh chords: all the intervals are minor thirds, including when going from one octave to the next. What this means is: a diminished seventh chord is the same chord in four different keys, which makes it useful as a pivot chord or for producing ambiguity about what key the music is in. That's one reason it appears so often in late Romantic music.
Appreciate this perspective - very cool.
Thanks for sharing what Brahms did there... very interesting.
Hey, I like getting taken for a bit of an unexpected ride! 🤗
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