Benefits
Use intervals to analyze music, both notation and sound.
Apply intervals to keyboard layout.
Use fingering based on intervals on the keyboard layout.
The Music
"Gankino Horo" from Northern Bulgaria----
Sheet music is posted at:
Sheet music is posted at:
The Practice
Apply the keyboard's direction for half steps and whole step (two half steps).
This is best applied where music is scale-wise with accidentals.
For example, on a B-System half steps go diagonal from left to the right and whole steps go diagonal from right to the left.
The reverse is true for a C-System where whole steps go diagonal from left to the right and half steps go diagonal from the right to the left.
So, where the music moves up or down by half step, use the half-step diagonal.
Where the music moves up or down by whole step, use the whole-step diagonal.
This is best applied where music is scale-wise with accidentals.
For example, on a B-System half steps go diagonal from left to the right and whole steps go diagonal from right to the left.
The reverse is true for a C-System where whole steps go diagonal from left to the right and half steps go diagonal from the right to the left.
So, where the music moves up or down by half step, use the half-step diagonal.
Where the music moves up or down by whole step, use the whole-step diagonal.
The Application
Using the music example above, analyze measure one for note for note by interval.
Apply the keyboard's direction for half steps and whole step (two half steps).
The time signature is 11/8 (2 + 2 + 3 + 2 + 2) with the third beat being the longest and strongest.
--Measure One--
The grace note to beat two is a whole step below beat two, so is fingered using the whole-step diagonal.
Apply the keyboard's direction for half steps and whole step (two half steps).
The last four eighth notes of measure one are a descending whole step, followed by a descending half step, and followed next by a descending whole step.
So the fingering descends on the whole step diagonal, followed by a descent on the half-step diagonal, and followed next by a descent on the whole step row.
--Measure Two--
Measure two begins with an ascending minor third (three half steps), which on either B-System or C-System is the button directly below.
Then beats one and two of measure two is a descending half step, followed by a descending whole step, and followed next by a descending half step.
(Recall that the naturally occurring half steps are between C-B and F-E.)
Measure two contains examples of the two naturally occurring half steps. One is at beat one and the other is at the last beat of the measure.
After analyzing the intervals in measure two, we see that the measure contains every interval between a half step and a major third (four half-steps).
So far we have covered fingering a half step, a whole step (two half-steps), and a minor third (three half-steps).
Using this information we can figure out the fingering for the major third (four half-steps). It is a minor third (three half-steps) plus another half step.
In this case the major third is ascending and located in measure two at the later part of beat three (the "F" going up to "A"). So, relative to the "F" the "A" is the button directly below plus one button down the half-step diagonal.
Apply the keyboard's direction for half steps and whole step (two half steps).
The time signature is 11/8 (2 + 2 + 3 + 2 + 2) with the third beat being the longest and strongest.
--Measure One--
The grace note to beat two is a whole step below beat two, so is fingered using the whole-step diagonal.
Apply the keyboard's direction for half steps and whole step (two half steps).
The last four eighth notes of measure one are a descending whole step, followed by a descending half step, and followed next by a descending whole step.
So the fingering descends on the whole step diagonal, followed by a descent on the half-step diagonal, and followed next by a descent on the whole step row.
--Measure Two--
Measure two begins with an ascending minor third (three half steps), which on either B-System or C-System is the button directly below.
Then beats one and two of measure two is a descending half step, followed by a descending whole step, and followed next by a descending half step.
(Recall that the naturally occurring half steps are between C-B and F-E.)
Measure two contains examples of the two naturally occurring half steps. One is at beat one and the other is at the last beat of the measure.
After analyzing the intervals in measure two, we see that the measure contains every interval between a half step and a major third (four half-steps).
So far we have covered fingering a half step, a whole step (two half-steps), and a minor third (three half-steps).
Using this information we can figure out the fingering for the major third (four half-steps). It is a minor third (three half-steps) plus another half step.
In this case the major third is ascending and located in measure two at the later part of beat three (the "F" going up to "A"). So, relative to the "F" the "A" is the button directly below plus one button down the half-step diagonal.
The Larger Intervals
An critical area for practice is accuracy on the larger intervals, for example fourth, fifth, sixth, seventh, and octave.
A large interval often has smaller intervals, half-step through thirds, nearby.
So, by considering the fingering of small intervals, you can improve the analysis and fingering of the music.
--Line Two, Measure One--
Using the music example above, on the second line, the first measure going into beat four ("G#") is a descending half step after an ascending fifth. By applying what you know about playing descending half steps, you can improve your confidence in playing the "A" then the "G#."
Often patterns repeat. So getting confident on the "A" to "G#" pattern, you get more confident for the same interval is measures two, three, and four of line two.
--Section Three, Measure Two--
Another large interval pattern is used on the line three going into measure two ("A" "E" "F#" "D"). The intervals are an ascending fifth, followed by an ascending whole step, and followed next by a descending major third.
This pattern repeats on the last line going into measure two ("D" "A" "B" "G").
A large interval often has smaller intervals, half-step through thirds, nearby.
So, by considering the fingering of small intervals, you can improve the analysis and fingering of the music.
--Line Two, Measure One--
Using the music example above, on the second line, the first measure going into beat four ("G#") is a descending half step after an ascending fifth. By applying what you know about playing descending half steps, you can improve your confidence in playing the "A" then the "G#."
Often patterns repeat. So getting confident on the "A" to "G#" pattern, you get more confident for the same interval is measures two, three, and four of line two.
--Section Three, Measure Two--
Another large interval pattern is used on the line three going into measure two ("A" "E" "F#" "D"). The intervals are an ascending fifth, followed by an ascending whole step, and followed next by a descending major third.
This pattern repeats on the last line going into measure two ("D" "A" "B" "G").
Summary
Analyzing and fingering music based on intervals will improve your understanding, accuracy, and performance of music.
No comments:
Post a Comment