Evil Kramer's Theory Corner

~ Circles of Strife part iii~

I have a couple of confessions to make. They are nothing I am proud of but I must get this off my chest. For starters, I can’t paint. Having soiled many a canvas, I have come to understand that oil, acrylic and I just don’t mix. Also, in last months column, an error occurred in the caveat section where it was stated there is only a half step between C and F. Obviously this is not the case, as the note E comes before F. Rather, the half step that precedes C is B. I apologize if this caused any confusion.

Now that that is out out way, and belive me that feels much better, I will commence with a story. When I was but a lad, my Papa bought me an inexpensive acoustic guitar and I have been hopelessly addicted ever since. I spent hours in my bedroom, discovering the scales, arpeggios and traditional chord progression of the masters. I learned of baroque, romantic and Jazz. I breathed in and desired nothing more than the sweet melody of Bach to give me the lift that a well roasted, unfettered, double shot of espresso does now. Not to say that the brilliance of music has ceased to inspire chills in me but one must have a reasonable vice now and again. It keeps one healthy, don’t you think? As Oscar Wilde said, “The only way to get rid of a temptation is to yield to it.” And besides, I have never found a greater thrill than when I first started my journey into the realm of western music theory.

It is with these thoughts that I settle our theoretical score: the thrilling conclusion to my last two columns. If you recall in part i, I discussed the circle of fourths and fifths. In part ii, the topic was how to derive the major scale. Today I will explain my original intent. Why a note is named, Ab, say, instead of G#, or why B# instead of C. Ready? It all has to do with the Major Scale. If you remember, there are only seven notes in the major scale. And only seven names for the notes we have. And keeping in mind the degrees of the scale, (W W H W W W H), if you want to write a major scale you must write each scale out using each note in the scale.

To wit, C major scale:
C D E F G A B COr in F, the next scale according the circle of fourths:
F G A Bb C D E FOr going the other direction, in the circle of fifths, in G:
G A B C D E F# GOr arbitrarily, the A major scale:
A B C# D E F# G# AEach note in the scale is given it’s own unique name. No F to F# nonsense. If the previous note in a major scale is F (or some derivation of it, i.e. Fb or F#) the next note must be G (or some derivation of it, i.e. Gb or G#). It keeps everything nice and tidy. I encourage you to now write out all the major scales, starting with the C major scale. Go either direction, but use the circle of fourths or fifths. It will come in handy later.

This is the first step and these are always the hardest ones to take. If you stick with it, soon it will make sense. I will return with this idea in the future. For now, write your major scales, listen to the greats and get the music in your bones. Feel free to email me with questions, comments, and literary suggestion at
evilkramer@musicliberationproject.com
Au revoir .