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Author Topic: Karl's basis for his OC ranges versus what I'd like/"need"  (Read 3571 times)
Active Newbie
Posts: 36

« on: February 14, 2012, 07:29:47 am »

Having trouble getting into the forum after I registered, I put in a call to Karl and got four times the valuable minutes anyone could reasonably expect. Enjoyed it a lot, and posed a question and situation en re the MO OCs he'd never been asked.

The background Karl-wise is that he was into folk (especially Celtic?) and Gospel music as he developed his primo OCs.

Most of them (99%, I think he suggested) - certainly the key of G ones - he can play with his bottom of F# (the 7th) and top of B (3rd/10th) because those types of songs don't dip below the tonic (G, here) except as maybe there's a passing tone or a bottom that sounds OK when raised some. (Similarly for the C OC.)

[Note that on the G you can also play a whole octave of B-flat major, A-major, B-major because it is chromatic.]

Innyhoo, while deciding what to really focus on I got out my two old big Fake Books; an everything-Hal-Leonard and a country book.

I went through every page and picked out every song that I really liked with a range of an octive+1, given that the off-octave note could probably be reasonably shifted.

Then, i went though them one by one to transpose them to a common key if and only if the recorder could handle the actual range (note x to note y, not how many notes of the scale).

Even with the allowance for 9ths and low 7ths, I was left with just five songs of the ones I originally picked out.

The problem with all of the other 45 or so was that there were too many - or too low - notes beneath the tonic (G in our example).

Now, if I had made the original picks based on MO OCs ranging from the low 7th (F#) to a major third over the octave, there would have been other songs possibly useful, and I'll make a pass in the books for such songs.

Some of the Karl info came because I asked why the bulk of "extra" notes was above the octave rather than below, which would have enabled me to end up with many more songs.

[Well, maybe if I had transposed to one of the other keys named above on the G, I would have had more, but that wasn't on my mind at the time (which was before I ordered the wonderful MO Ocs).


Those of you who are used to the generic notation for notes and chords, notation that doesn't depend on the key (the Nashville Number System is a non-classical example of the ancient, similar notation), could perhaps use this idea:

You don't need to ultimately know anything about the original key of a piece. (Indeed, once you have written a score this way it works whatever key(s) your instrument allows. you just need to know what your instrument's tuning is. That means you can make it easy on your self, when transposing to what you want to play. IFF you are comfortable with the I, ii, iii, IV, V, vi, vii notation for chords and the related i, ii, iii, iv, etc for the notes.

(Please note that Nashville session sidemen play from such sheets, and can INSTANTLY switch keys. What I suggest in the next paragraph is the non-alphabetic version of that.)

Transpose everything (in a major key, anyway?) to a staff where the tonic (G, F, E, C, B#, whatever) notes are on the bottom line, using NO key signature. You know what key you're playing in, and a note on the 2nd line is obviously the 3rd, the middle line the 5th, 4th line the 7th, and similarly for the spaces.

Hmm, yes, you can do that also with minor keys because you are not using, say, the lines to mean intervals of 1.5 or 2.0 steps; you are using them just to NAME the right relative note of the scale.

Well, thanks for listening!

Did this bring up any ideas?

PS.  It is undoubtedly true that this process of reading the score/sheet is easier for recorder and pan flute players because the relative notes of the anonymous scale/staff are in that same relative position on the instrument.

« Last Edit: February 14, 2012, 07:35:11 am by UncleO » Logged
Harp Player
Hero Member
Posts: 836

« Reply #1 on: February 14, 2012, 07:36:58 am »

The sSelf-Learning Music Curriculum teaches you to play the G as a transposing instrument (like it is a C) that method allows you to play many more songs on the G, but it would also require anyone you are playing with to transpose their music to be in the same key your are in.

Active Newbie
Posts: 36

« Reply #2 on: February 14, 2012, 07:54:18 am »


Fortunately - for possible co-players (or listeners) - everyone will be spared my efforts for quite a while!

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