Quote:
Originally Posted by ElRay  More or less. The idea is to fingerpick lower-note, higher-note, lower-note, double stop across all combinations of four strings as a right hand exercise and get some ear training out of it by singing/naming the notes/intervals* (in my head) as I'm playing.I recently re-discovered Elliot Carter (especially his composition Shard) and that's what got me rolling down this road. The downside (as an interval exercise) is that I'm not finding any fingerings that work with a fourths or fifths based tuning. With Major 3rds, a number of fingerings fall in very nicely. That said, if you just look at the pitch classes for a given AIT, then there are some neat compositional possibilities using wider intervals.
* * Question for you chromatic notation guys, do you still "sing" A,Bb,B,C, or do you use different note names? |
I used to love Elliot Carter but haven't listened to him for years. He has a fantastic solo classical guitar piece which I can't remember the name of. What is the instrumentation for Shard?
I'm still quite fascinated by your 3rds tuning, though I'm still stubbornly sticking to 4ths, any fingerings for anything (scales, chords, arpeggios) that you've explored and feel like posting would be very cool. The fact that you only have 3 strings to learn is really quite advantageous I think. 4ths never repeat until you've covered all 12 pitch classes.
And for the chromatic notation I love using Brennik's (sp?) suggested solfege names in his reference materials:
Code:
ba pa ke vi ge
do re mi fa so la ti
Takes some getting used to, but I love how the #/b notes have their own name instead of a modified version of the 'white key' notes. Completely gets rid of the need for #/b's just as the chromatic notation does (along with clefs, key sigs, and notes changing their line or space in different octaves.)