Other web Sites
Harmonica Blues  Harmonica Amps
Harmonica Links Harmonica Pages
• Archives Home
• Years
 · 1992
 · 1993
 · 1994
 · 1995
 · 1996
 · 1997 		 · 1998
 · 1999
 · 2000
 · 2001
 · 2002
 · 2003
Amplified Blues Harmonica BBS
Search:
 
Web HarpL
vintage ELECTRO VOICE 664A MICROPHONE great EV harp mic
VINTAGE 1940s ART DECO GE HARP HARMONICA OLD MICROPHONE
Vintage Electro Voice EV 630 Hi-Z Harp Harmonica Mic
Egg-static Harp Mic, crystal harmonica microphone
AUDIX FIREBALL HARMONICA MIC NEW
Electro-Voice EV 606 Hi-Z - Vintage Harp Mic...BLUES!!!
Vintage Harmonica Microphone Cord Cable Harp Mic JT-30
Bottle 'O Blues Harmonica Microphone (Harp Mic)
Vintage SHURE CR-81 Harp Mic Controlled Reluctance
1976 HARMONICA GENIUS CHARLIE McCOY PEAVEY MIC AD
THE HOG Custm Chopped ElectroVoice EV 664 Hi-Z Harp Mic
Shure 520DX Harmonica Mic 520 DX PROAUDIOSTAR
Custom Shure bullet Harp mic - CM 99A86 - Video Sample
BARCUS BERRY MODEL 5600 HARMONICA ELECTRET MICROPHONE
New BluexLab Harmonica microphone mini bullet harp mic
Great quality cable for Astatic JT-30 vintage harp mic
Vintage Shure 520-d green bullet harp microphone blues
Audix Fireball Fire Ball Vocal Harmonica Beatbox Mic
HZD-1 Bullet Harmonica/Vocal Microphone Harp Mic ZD-1
Bottle 'O Blues Harmonica mic and Smokey amp (Harp Mic)
NEW HooDoo Hand Wireless Harmonica Microphone System
Nady Vocal / Harmonica Microphone fat tone For blues
Astatic JT-30 Harp Microphone With Original Box
Shure 520DX Green Bullet Dynamic Harmonica Microphone
Hohner Blues Blaster Harmonica Microphone W/ Cable NR
Astatic JT30 Harp Shure Harp Mic CM 99G86 Black Texture
HOHNER Blues Blaster Harmonica Mic 1490 Microphone NEW!
RIDGEVIEW Acoustic Harp Transducer Pickup Microphone
1949 SHURE CR-81 Harp Mic w/ Black Label 99A86 Element
HOHNER Blues Blaster Harmonica Mic 1490 Microphone NEW!
Valco Chicago 51 Tube Guitar Harp Mic Amp Amplifier !!
Shure 520D Green Bullet Microphone Harmonica Mic
VINTAGE ELECTRO VOICE EV 607 DYNAMIC LO-Z HARP MIC RARE
Vintage Custom Harmonica / Harp Microphone / Mic /Shure
Audix Fireball V Beatbox Harmonica Microphone Mic NEW
VTG TURNER 22 D DYNAMIC MICROPHONE MIC HARP STAGE RETRO
AUDIX Fireball Harmonica Microphone-NEW-Awesome Sound
Astatic JT30 Harp Mic Harmonica microphone CM element
Vintage Sonotone/Voice of Music VM Harp Microphone Mic
Vintage Voice of Music VM Ceramic Harp Microphone Mic

Harp-L Archives

[Previous Message] [Next Message]
[Previous in Thread]
[Start of Thread] [End of Thread]

DATE: Sun, 06 Nov 1994 02:58:42 CST
From: ah5~fn.ysu.edu (George W. Miklas)
Subject: Re: MORE LA HARP NEWS / MINOR THEORY



>SOME MINOR THEORY
>Minor keys are based on scales having a flatted third.
This is vague. Actually, it is incorrect because a minor
scale is not different from a major scale simply on a flatted
third, but other intervalic changes as well.

You quote a "flatted third" as being a note in a minor scale.
This is an incorrect assumption as the third is always diatonic
even in your examples later in your post. Since the note
naturally occurs in the key signature, it is not an accurate
statement to call it a "flatted third."

>Example: C Major Chord: C, E, G; and C Minor Chord: C, Eb, G.
These are your examples from above. They do not exemplify
scales nor keys. They are merely triads.

>Melodic Minor scales have the third note flatted...
This statement is BLATANTLY incorrect. The MELODIC form of the
minor scale has one set of intervals for the ascending scale, and
another set of intervals for the decending scale. Here is the
corrected scale:

A B C D E F# G# A A G F E D C B A
acending decending

Please note that the decending scale is EXACTLY like the decending
natural minor scale while the ascending scale has tones which
are borrowed from the parallel major (which has the key signature of
three sharps F# C# G#).

Melodic minor scales cannot be played on diatonic harmonicas
because it is not a diatonic scale. It is a chromatic scale
because is uses "chromatic" tones (as in not diatonic) from
a major scale. Hence, this melodic minor scale will either be
played on a chromatic harmonica, two appropriately tuned diatonics.

>Natural Minor scales (also known as Aeolian scales) have the third, sixth and
>seventh notes flatted. Example: C, D, Eb, F, G, Ab, Bb, C.
Again, this is vague. The scale is simply a diatonic minor scale in
the key signature of three flats. PLEASE, your definition would
be confusing because a lay person might think that you can take a
major and make it minor by changing three notes when there is much
more involved in changing modes than simply three notes. While a
music theretician may make the inference that you have made here,
lets not use poor pedagogy where it can be avoided.

>Harmonic Minor scales have the third and sixth notes flatted. Example: C, D,
>Eb, F, G, Ab, B, C.
Again, incorrect! The scale is diatonic in the key signature with
a RAISED SEVENTH, the leading tone. It is not happenstance that
the seventh is raised, it is deliberate.

>Dorian scales have the third and seventh notes flatted. Example: C, D, Eb,
>F, G, A, Bb, C.
Again, diatonic in the key, based on the second scale degree.

>RELATIVE MINOR KEYS
>
>To find the relative minor key of a given major key, count back three
>semitones from the major key. Example: if the major is C, count back three
>semitones to B, Bb and A. So A Minor is the relative minor of C Major.
> Another example: from key of A major, count back three semitones to Ab, G
>and F#, so F# Minor is the relative minor of A Major.
This is a good description, and pedagogically sound.


It is my view that music theory is exact and proven. The basis of my
pedagogical thought processes can be found in the following texts:

GROUT/PALISKA: The History of Western Music
HARDER: Fundamentals of Music, vols 1 and 2.
GROVES: Dictionary of Music and Musicians
The Harvard Dictionary of Music

These texts are available at most public libraries.


George Miklas, Bass Harmonicat