Lesson 85 - Key Signatures

Another indulgent two hour lesson today where we focused mainly on the philosophy and theory of music.

Getting to grips with scales have been the focus of recent practice sessions but it was only a couple of days ago that I truly sat down and read up on key signatures and patterns; trying my best to consume what I've learned whilst at the same time, attempt to visualise the notes on the fingerboard.

I find that saying the note out loud when bowing them helps albeit tricky in terms of multitasking but it does establish the relationship of body and mind. I've still yet to automatically recognise a note by plonking a finger anywhere on the fingerboard but in due time, perhaps.

So today, we played through the melodic and harmonic minor keys with universal fingering after Deryn imparts her wisdom and tips for understanding key signatures.

Using the circle of fifths, the patterns assist you in figuring out the series of flats, sharps and accidentals needed to form a certain key.

C major is the only key without sharps, flats or accidentals.

Keys with sharps are a perfect fifth up.
Keys with flats are a perfect fifth down.

Minor keys are a minor third down from their relative Major keys.

Harmonic minor raises the 7th note.
Melodic minor raises the 6th and 7th ascending and flattens them descending.

The tonic of a major key with flats is always the second last flat that it contains. For example, A flat major has 4 flats - B, E, A, D.

The tonic of a major key with sharps is always a semitone up from its last containing sharp. For example, D major has 2 sharps - F, C.

There are, of course exceptions to the rules like F major being the first key in the flat scales with only 1 flat and G major being the first key in the sharp scales. But the patterns and rules are all there and knowing them well is key to well, knowing the key signatures.

We ended the lesson with a play through of Bach's Gigue (Suite I) where it was quite clear that I was so off-balance that it affected my playing; left hand gripping the fingerboard and fingers slipping away as if they were skidding on ice. Sound production was severely limited as it seemed I was playing mostly within a really tiny section of the bow. This was definitely something I wasn't aware of! I suppose you could say the fear of playing Bach was looming over me like a blue whale. My main concern is playing the suites in time with the metronome as phrasing of the whole piece is getting in the way of playing in time. Or rather, you could say that having listened to so many variations of the Suites by different cellists, my approach to playing them has been affected quite a bit. How does one unlisten?

Playing the piece really slowly with generous bowing and in time with the metronome could be one. Maybe. Or just not get too precious about it and follow the notes accordingly without expectations.