Transpose all to a G-maj and an f-natch just doesn't have the niceness.Īlso perhaps ask the student at what moment they "remember" that there's a black note coming. So the scale, with no Swan-Lake changes in rhythm, becomes a melody, with event and even expression. The same answers come when the scale is descending, oddly enough. The seventh becomes beautiful for being so very nearly there, on the verge of arrival, but just not quite. In almost every single case of this bold (because easily disprovable) experiment, they say that the B, the seventh, is the most gorgeous, followed by the G (5th). A simple exercise, shove the notes down in order, cock the head towards the piano, listen to each sound and make a judgment. I ask my students to play a (C) major scale very slowly and tell me what, in their opinion, is the most beautiful note of them all. What would happen if you had them play the measure again, and ask if it sounded right? It's just stating the obvious.īut for some students perhaps it is not obvious. Telling me to play the black key really wouldn't do me any good at all. I certainly hear the error immediately, but now it's too late. It's not because I don't know I have to, it's because my clumsy finger misses where I want it to go. I'll admit I sometimes fail to play the black key. What you should do is get back in the car, start it again, and turn the lights off as part of the process. If you get out of your car and notice you've left the lights on, the cue for turning lights off becomes noticing they are on, and that's not what you want. The cue for the student playing the black key is the teacher pointing it out, rather than part of the playing process. Play wrong note, teacher says play black key, student plays right note.
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