It is 6 years since I made my scale routines for low brasses available for the free download. The variants for euph (TC & BC), and tubas in BBb, CC, Eb, and F comprised the Major mode, the 3 Minor modes (natural, melodic, and harmonic), the Dorian, and the Mixolydian modes. That covered the more usual classical modes and the most basic jazz modes. Since then the offering has been made more transparent with no bundling of files.
Earlier this year I issued similar routines for various reading modes for the recorder family. There I included the above modes plus the Lydian, Locrian, and Phrygian modes plus the 1/2+1/1 step eight tone scales used over chords like G13b9#9#11. In the context of TubeNet members joining my download project I realized that the scale routines offered for low brasses was less complete than the project for recorders.
This incompleteness will be worked on, and today I uploaded the low brass routines for the Locrian mode:
http://launch.groups.yahoo.com/group/Yo ... an%20mode/
You will have to join the Yahoo group in question, as I don’t want to buy server space. As soon as I see your application (please identify yourself as a member as TubeNet and tell your name and instrument) you also will be invited to the 3 other groups of my free download project, which has its shared index here:
http://launch.groups.yahoo.com/group/Yo ... 0%20Index/
The various modes are indirectly presented in books like Arban’s method, but not all in a specific manner. Rick Denny and I have discussed the necessity of knowing all type of scales. We agree that a full knowledge is desirable, but also that most tubists in community bands would improve their reading skills alone by being able to play play all 12 chromatic variants of the major mode.
I practise these routines from memory or ear, and I find the shifts between the modes a great way to avoid boredom. Most modes mentioned (not the melodic and harmonic minors plus the eight note scales) use the exact same sequences of notes. Only the starting points, and hence the arpeggios, vary. The Locrian mode is special by being the only diatonic mode with a diminished fifth.
Enjoy!
Klaus
Low brass scale routines - Locrian & Phrygian modes
-
imperialbari
- 6 valves
- Posts: 7461
- Joined: Fri Mar 19, 2004 3:47 am
Low brass scale routines - Locrian & Phrygian modes
Last edited by imperialbari on Tue Dec 22, 2009 7:07 pm, edited 1 time in total.
-
Kevin Hendrick
- 6 valves
- Posts: 3156
- Joined: Sat Sep 25, 2004 10:51 pm
- Location: Location: Location
Re: Low brass scale routines - Locrian mode
Thank you, Klaus! 
"Don't take life so serious, son. It ain't nohow permanent." -- Pogo (via Walt Kelly)
-
djwesp
- 5 valves
- Posts: 1166
- Joined: Sat Nov 27, 2004 11:01 pm
Re: Low brass scale routines - Locrian mode
Several years ago I hopped on the Klaus scale routine bandwagon.
These routines are your run of the mill scales.... HOWEVER.
1. They are organized by day, some days you slur, some days you tongue.
2. They end differently... sometimes you play the appregio, sometimes not
3. They are organized great to address your range! The mid range of your keyed instrument is done in the traditional 5/4 scale cycle. When you move to the high range it is ascending, low range descending. Every day you play, you are pushing your range as a part of the routine.
4. Easy to memorize! Once you learn what Klaus is doing you can do it on your own. It is nothing earth shattering, but it is a great way to work on scales logically.
These routines are your run of the mill scales.... HOWEVER.
1. They are organized by day, some days you slur, some days you tongue.
2. They end differently... sometimes you play the appregio, sometimes not
3. They are organized great to address your range! The mid range of your keyed instrument is done in the traditional 5/4 scale cycle. When you move to the high range it is ascending, low range descending. Every day you play, you are pushing your range as a part of the routine.
4. Easy to memorize! Once you learn what Klaus is doing you can do it on your own. It is nothing earth shattering, but it is a great way to work on scales logically.
-
imperialbari
- 6 valves
- Posts: 7461
- Joined: Fri Mar 19, 2004 3:47 am
Re: Low brass scale routines - Locrian & Phrygian modes
Just finished the versions for the Phrygian mode:
http://launch.groups.yahoo.com/group/Yo ... an%20mode/
Of course I like Wes’ posting because he has understood my project and apparently makes good use of my original uploads. He, like myself plays the scales from memory/ear after having grasped the idea. But if less experienced players pick 4, 5, or 6 major scales and play them faithfully from the print, then I as a teacher feel myself equally rewarded, if doing so expands the musical scope of these players. As I want the initial stages being as easy as possible it is important to play from the version matching the pitch of ones instrument. Otherwise even easy keys may be in a less comfortable range.
I hardly would have written down my routines, if I hadn’t been on diverse web forums about musical instruments. The mental ping pong is important. The preface for the Phrygian routine says this:
Phrygian mode scale routines for low brass instruments
Versions for:
euphonium in treble clef Bb, also applicable for brass band style reading tenor trombone and tubas in Eb or BBb
euphonium in bass clef concert, also applicable for tenor and bass trombones
tubas in F, Eb, CC, and BBb, all in bass clef concert.
The main ideas behind these routines have been presented in the other prefaces. Here a few considerations:
In 1981 I took part in a 2 weeks long Danish jazz camp with very good teachers. I had been playing scales classical style in
two-octave patterns, which cover 3 octaves when playing around the cycle of fifths. Also played a lot of scales from Arban,
who is not comprehensive key-wise, as he used cornets in C, Bb, and A to be versatile.
Another trombonist on the camp was a former section mate from a brass band. A really smart guy with PhD degrees in musicology
as well as in modern literature. But he ran into problems when asked to play in different modes. I asked if he didn’t
know them from the Arban patterns, when the scales shift from step to step. He hadn’t perceived these scales in their modal
sense.
One of the teachers was a tenor player educated on Berkeley. I wasn’t in her classes, but heard rumours about her having
scale ideas, so I asked her. She outlined the idea about playing the scales and arpeggios to the ninth. I worked from that pattern
on tenor and bass trombones for several years. As there is no true legato on trombones I played arpeggios in all of the
various tonguing styles including the fake legato.
When I later took up the valved low brasses I didn’t like doing the arpeggios slurred, but rather used the true legato to play
scales at very high speed. That approach is reflected in my routines. But honestly: I never really played these routines from
written music. Rather I have written down what I do.
In one way my approach has changed. I used to play all modes in the key related to the major scale starting on the 2nd partial
of whatever instrument I played in a given situation (I have instruments in C, B natural, Bb, A, G, F, and Eb). But for the sake
of my aging memory I now always start any mode on the 2nd partial.
I am not very original in dividing the modes in major types and minor types. Lydian is major with a raised 4th step. That is
the mode troubling my ears the most in scales. Mixolydian is major with a lowered 7th step.
Dorian is minor with a raised 6th step. Phrygian is minor with b2. Locrian is minor with b2 and b5. Ascending melodic minor
is a major tetrachord on top of a minor tetrachord. Harmonic minor is a special love of mine, but it takes much attention
intonationwise, and it has some really odd fingering sequences. The dominant 8-note scale has leading notes to the third, fifth
and minor seventh steps and a downwards-leading note to the tonic. It also is a funny mode as there really only are three
different variants.
Every player should shape his/hers own scale concepts. I encourage doing scale work from memory or by ear. I also encourage
keeping a diary over ones scale work.
Klaus
http://launch.groups.yahoo.com/group/Yo ... an%20mode/
Of course I like Wes’ posting because he has understood my project and apparently makes good use of my original uploads. He, like myself plays the scales from memory/ear after having grasped the idea. But if less experienced players pick 4, 5, or 6 major scales and play them faithfully from the print, then I as a teacher feel myself equally rewarded, if doing so expands the musical scope of these players. As I want the initial stages being as easy as possible it is important to play from the version matching the pitch of ones instrument. Otherwise even easy keys may be in a less comfortable range.
I hardly would have written down my routines, if I hadn’t been on diverse web forums about musical instruments. The mental ping pong is important. The preface for the Phrygian routine says this:
Phrygian mode scale routines for low brass instruments
Versions for:
euphonium in treble clef Bb, also applicable for brass band style reading tenor trombone and tubas in Eb or BBb
euphonium in bass clef concert, also applicable for tenor and bass trombones
tubas in F, Eb, CC, and BBb, all in bass clef concert.
The main ideas behind these routines have been presented in the other prefaces. Here a few considerations:
In 1981 I took part in a 2 weeks long Danish jazz camp with very good teachers. I had been playing scales classical style in
two-octave patterns, which cover 3 octaves when playing around the cycle of fifths. Also played a lot of scales from Arban,
who is not comprehensive key-wise, as he used cornets in C, Bb, and A to be versatile.
Another trombonist on the camp was a former section mate from a brass band. A really smart guy with PhD degrees in musicology
as well as in modern literature. But he ran into problems when asked to play in different modes. I asked if he didn’t
know them from the Arban patterns, when the scales shift from step to step. He hadn’t perceived these scales in their modal
sense.
One of the teachers was a tenor player educated on Berkeley. I wasn’t in her classes, but heard rumours about her having
scale ideas, so I asked her. She outlined the idea about playing the scales and arpeggios to the ninth. I worked from that pattern
on tenor and bass trombones for several years. As there is no true legato on trombones I played arpeggios in all of the
various tonguing styles including the fake legato.
When I later took up the valved low brasses I didn’t like doing the arpeggios slurred, but rather used the true legato to play
scales at very high speed. That approach is reflected in my routines. But honestly: I never really played these routines from
written music. Rather I have written down what I do.
In one way my approach has changed. I used to play all modes in the key related to the major scale starting on the 2nd partial
of whatever instrument I played in a given situation (I have instruments in C, B natural, Bb, A, G, F, and Eb). But for the sake
of my aging memory I now always start any mode on the 2nd partial.
I am not very original in dividing the modes in major types and minor types. Lydian is major with a raised 4th step. That is
the mode troubling my ears the most in scales. Mixolydian is major with a lowered 7th step.
Dorian is minor with a raised 6th step. Phrygian is minor with b2. Locrian is minor with b2 and b5. Ascending melodic minor
is a major tetrachord on top of a minor tetrachord. Harmonic minor is a special love of mine, but it takes much attention
intonationwise, and it has some really odd fingering sequences. The dominant 8-note scale has leading notes to the third, fifth
and minor seventh steps and a downwards-leading note to the tonic. It also is a funny mode as there really only are three
different variants.
Every player should shape his/hers own scale concepts. I encourage doing scale work from memory or by ear. I also encourage
keeping a diary over ones scale work.
Klaus