key signature

Late in TFMM, I’ve begun assigning my students to write a few bars from Foundation pieces they’ve learned long ago. All kinds of interesting issues have been coming up – how to add articulation, how to figure out the time signature, stem directions, etc. I…

• Last updated 3 months ago
• accidentals, developing reading, different reading projects, enharmonic, flats, key signature, Laurie Richards, reading, sharps, sharps and flats, tfmm, Time for More Music, transcribing, transcribing composition, transcription, writing, writing intervals, writing notes

I’m wondering if ‘Here To Stay’ from the Jazz program commences in the key of D minor and then modulates to A minor around the third line. I’ve had a student ask me why the g in the A11 chord is natural. Any thoughts? It…

• Last updated 3 years ago
• 2-5, 2-5 chord progression, 2-5-1, 2-5-1 chord progression, changing keys, common chord, deceptive cadence, harmony, Here to Stay, jazz, jazz chords, jazz clues, Joe Gilman, key, key change, key of the moment, key signature, leading tone, minor keys, modulation, Neil Moore, parent key, pivot chord, relative key, relative major, relative minor, tonality, tonic, tonicization, tonicize, tonicizing

What key is Dark Blue in? Look at the music book for FL4. 3 flats. Also, the first and last bass note is C hinting at the tonal center. Ian Yes. And yes. And yet: it doesn’t really ever sound like C is a definitive…

• Last updated 3 years ago
• changing keys, chord inversions, chord voicings, chromatic, chromaticism, Dark Blue, harmony, inversions, jazz, jazz chords, Joe Gilman, key, key change, key of the moment, key signature, minor keys, modal, modes, modulation, Neil Moore, relative key, split chords, tonality, tonic, tonicization, tonicize, tonicizing, voicing, voicing chords, voicing jazz chords

I am going deeper into “scale” with my more advanced students in the Development Levels and in Accompaniment 2. Having come from a very extensive classical musical training, I understand scale, key signature, and advanced theory. However, a student has asked me, and I ask…

• Last updated 4 years ago
• comp & improv, comp and improv, comp/improv, geography, geography of keyboard, Gordon Harvey, improv, improv ideas, improvisation, improvisation ideas, improvising, integrated theory, key, key signature, keyboard geography, Laurie Richards, naturally occuring 3s and 4s, NO34, Robin Keehn, scale, scale fingering, scale journey, scale maps, scale theory, scale tone chords, scales, teaching scale, theory

Jazz program.The key of Solace of the Wind. First off I might say it’s C Minor with it’s key signature and initial chord but it’s the final chord that’s supposed to be the final arbiter, right? And that’s A flat Minor. In fact the whole…

• Last updated 5 years ago
• changing keys, chord theory, ending chord, final chord, Gordon Harvey, imperfect cadence, jazz, Jazz 1, jazz chords, jazz clues, jazz melody, jazz program, jazz program questions, JC, key, key chords, key of the moment, key signature, last chord, lydian, mixolydian, modes, scale theory, Solace of the Wind, theory, tonic, touch of jazz

Having trouble wording an answer for a student. He’s perceptive and quick, and he asked me today why there’s a flat in the key signature for First Signs of Winter when there is never actually a B played in the song. How would you explain…

• Last updated 5 years ago
• family analogy, First Signs of Winter, flats, FSOW, key, key signature, Laurie Richards, major vs. minor, minor keys, sharps and flats

Have a random question about 0246135 in Accompaniment 2 (I checked simpedia and here before posting): What is the reason we go in the particular order of notes on the keyboard by skipping up to F# from E and back down to its natural scale…

• Last updated 3 years ago
• 0246135, geography of keyboard, key, key names, key naming, key signature, keyboard geography, major scale, Neil Moore, Neil's Responses (YouTube Videos), scale, scale formula, scale theory, scales, sharps and flats, teaching scale

I don’t understand the “scale journey on the keyboard.” I know a lot about scales and can play them all, but my understanding is this is playing the scales using 3 fingers of the LH and 4 of the RH starting in various positions on…

• Last updated 5 years ago
• composition, improvisation, key, key signature, naturally occuring 3s and 4s, NO 3 & 4, NO34, patterns, playing-based, playing-based tools, reading, scale, scale fingering, scale formula, scale journey, scale maps, scale theory, scales, teaching scale, tfmm, Time for More Music, value of TFMM

Is there any advantage or disadvantage to buying a “key of C” fake book vs. just a generic fake book? The one I am looking at is not the “easy” fake book series, it just says “for C instruments”. For C instruments does not mean…

• Last updated 5 years ago
• accomp, Accompaniment‏, accompaniment 1, accompaniment pieces, accompaniment program, accompaniment resources, c instruments, chords, current music in accompaniment, easy fake books, fake books, key, key signature, outside accompanimnent pieces

I really encourage my students to ask questions. Tonight while learning August she wanted to know about flats as accidentals turning up in a # key signature, such as in measure 15. “Why is it not written as a D#?” she said. Does anyone know…

• Last updated 7 years ago
• accidentals, August, chord structure, key signature, Neil Moore, tfmm, Time for More Music