Re: What's this jazz about the modes?


"Matthew Fields" <spam@xxxxxxx> wrote in message
news:Tm__e.353$yb2.179@xxxxxxxxxxxxxxxxxxxxx
> In article <LzZ_e.18701$SG3.6716@trnddc07>,
> Steve Latham <llatham@xxxxxxxxxxx> wrote:
>>
>>"Matthew Fields" <spam@xxxxxxx> wrote in message
>>news:IXS_e.327$yb2.309@xxxxxxxxxxxxxxxxxxxxx
>>
>>> Which is to say that fretted strings bias the novice towards 12-tone
>>> thinking (unless they're fretted unusually, e.g. in 19-equal or as on
>>> Harry Partch's guitars),
>>
>>This is absolutely not the case. Training counteracts this bias and gives
>>them a bias of scales and chords as the only thing used to create music.
>>Novices typically learn tonal music, or at least tonally derived music and
>>don't do much 12-tone thinking other than transposing something by adding
>>X
>>frets to everything.
>>
>
> When I say 12-tone thinking, I'm not referring to 12-tone serial
> atonality, but to the notion that all semitones are created equal.

Good. That's what I suspected. Unfortunately, they often
still don't know how to calculate open strings into this thinking!
>
>> while keyboards and keyed wind instruments
>>> bias the novice towards diatonic thinking and preference for certain
>>> keys over others,
>>
>>Guitarists are certainly biased towards a few keys - E, em, G, A, Am, C,
>>D,
>>and Dm. Music in Ab is far outweighed by music in G, even in classical
>>guitar.
>
> But then as everybody keeps pointing out, once you get away from the
> open strings, transposition is just a hand-shift away.

Exactly. Too bad not enough people know this.

>
>>and brass instruments can bias the novice towards
>>> thinking in terms of approximations of overtone series. Fretless
>>> strings and the human voice present their own challenges and biases.
>>
>>Yes, but I don't know anyone who's biased towards microtonal music by
>>playing these instruments -not counting that they'll play out of tune as
>>novices - but they're typically learning (as a novice) to play tonally.
>
> Yes, pedagogy provides its own biases. This is why Bartok is so important
> to pianists, for instance.

What's the equivalent in violin pedagogy - do you know of one? - or other
instruments for that matter. It is certainly lacking in guitar pedagogy.'

Steve


.

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