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Thread: Arp fingering

  1. #91
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    I would use:
    Chord function + Major scale fingering pattern n + starting tone (chord tone)
    But for those who are not so familiarized with the major scales it would be difficult to know what is the key without some "calculation". So, to make thing easy at first, it is better to include not only the starting tone, but also all chord tones or saying which key we're in, don't you think?

  2. #92
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    In a specific key - this might translate to:

    . . when talking about 2-octave triad arpeggios in the key of G major:

    The G major from Pos Form #1 starting from the G - or
    The G major from Pos Form #1 starting from the B - or
    The G major from Pos Form #2 starting from the B - or
    The G major from Pos Form #3 starting from the B - or
    The G major from Pos Form #3 starting from the D - or
    The G major from Pos Form #4 starting from the D - or
    The G major from Pos Form #5 starting from the D - or
    The G major from Pos Form #6 starting from the G - or
    The G major from Pos Form #7 starting from the G
    Ok, this is the example of what I said before.
    When working on a specific key, this info must be given (or all the chord tones).
    In fact it doesn't seem to make any sense to use this without knowing the key since many fingering patterns start with the same tone. So if you don't know all of them (or the key) it is not possible to determine which key it is. Am I thinking correctly?
    Last edited by rbarata; 06-24-2011 at 04:08 PM.

  3. #93
    bitter old fool Jed's Avatar
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    Quote Originally Posted by rbarata View Post
    But for those who are not so familiarized with the major scales it would be difficult to know what is the key without some "calculation". So, to make thing easy at first, it is better to include not only the starting tone, but also all chord tones or saying which key we're in, don't you think?
    It would be better if that person learned to walk before they tried to run.

    They should learn the major scales first before they try to understand the chords in terms of those scales. In which case identifying the key and the chord function would be enough to define the chord tones in question.

    It sounds as if you are looking at this from the perspective of someone that doesn't know their scales. Learning / memorizing the major scales is the first step to learning any other music theory. Music theory can only be understood in terms of the notes of the various major scales. So it is a fools errand to try and project this information without doing so in terms of the major scales - all of them. We work here in a key-agnostic fashion because this information is applicable and true for every major key. But you still have to learn these things in terms of their major keys and scales - there is no other way. The map is not the terrain - it's just a representation of the terrain.

    To play music and to understand music we have to think in terms of notes. We only use the numerical analysis to illustrate the commonalities / the rules of engagement / the structure of music. But the real understanding doesn't happen until you can do all of this in terms of notes in your head without calculations or hesitation.
    Last edited by Jed; 06-24-2011 at 04:31 PM.

  4. #94
    bitter old fool Jed's Avatar
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    Quote Originally Posted by rbarata View Post
    Ok, this is the example of what I said before.
    When working on a specific key, this info must be given (or all the chord tones).
    In order to avoid any confusion - yes.

    Quote Originally Posted by rbarata View Post
    In fact it doesn't seem to make any sense to use this without knowing the key since many fingering patterns start with the same tone. So if you don't know all of them (or the key) it is not possible to determine which key it is. Am I thinking correctly?
    Since we are associating specific 2-octave triadic arpeggio fingering patterns to specific major scale fingering patterns - the key, the major scale fingering pattern, the chord and the starting note are important bits of information.

    We have to talk in terms to which the audience can relate. Personally I prefer to think in terms of "positions" (traditional definition) along the fretboard. Because in the music I play, the key is less important that the chord of the moment. And because I can "see" any 2-octave triad arpeggio pattern in terms of multiple keys. But at the start, it's best to keep things simple and obvious - this means using concise and accurate language with enough detail to avert any confusion.

    . . . of course the reader has to read and actually comprehend the language for any meaningful discussion to take place.
    Last edited by Jed; 06-24-2011 at 04:22 PM.

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