How to master a string signature stamp? We are trained in playing musical instruments
In this article it will be a question of a signature stamp only of string instruments. Sometimes the location of buttons of a bayan or accordion is called a signature stamp too. But the speech not about it.
Of course, can seem that there is nothing the general between a guitar, a balalaika and a violin. But is not present, all laws are uniform. Exercises will differ a little, statement of fingers. And essence one. Strings and fingers on them.
All music with which we deal consists not of notes, and of intervals. Here them is that and it is necessary to train on a signature stamp. Intervals can be melodic when sounds follow one by one, or harmonious when sound at the same time. If there are several intervals, then the chord turns out already.
What is available on a signature stamp?
First of all, of course, it is strings. Them there can be a different quantity. On a guitar - 4 - 7, on a violin (a domra, a mandoline) - 4, on a balalaika - 3. The quantity of strings shows us how many at the same time sounds can publish our tool. It is clear, that if strings more than two (on some east tools their two), then the tool is suitable for accompaniment by chords.
In the second turn - a working surface of a signature stamp. She is different. Happens to cut-in metal powders (frets), as on a guitar. And happens pure and smooth, as on a violin or bezladovy to a bass. National tools have still navyazny frets which can be moved, but it is exotic.
the Musical theorythe Musical theory necessary for development of a signature stamp is very simple
. These are the first pages of the textbook according to the elementary theory of music. Everything that it is necessary to know - intervals what they happen. The rest - at will. Just as it is impossible to teach to speak the child without syllables, and music cannot be learned without intervals. And here to teach the child it is possible to speak also without spelling with a punctuation. Also and in music. Imitation is necessary. It is good when the father - the Gipsy - the violinist. And here if is not present, then it is necessary to listen to disks, radio or friends - musicians. Well and a little excess theory here will not damage any more a little to understand notes.
of the Basis
First that needs to be understood is that a signature stamp - system of coordinates. On a signature stamp the minimum intervals of which there are big intervals are designated. Here, actually, and all. As on a map different systems of coordinates, and on different tools can be applied.
Unlike geography on our card (signature stamp) there is a considerable duplication of sounds. They repeat on several next strings. This feature should be able to be used at the choice “ raspaltsovka “. It is sometimes more convenient to play in one place, sometimes - in another.
The main tally on LVL tools is one harmony. He corresponds to an interval of half tone. If to play natural scale (a major or a minor) the guitar, then distances between the next fingers will not exceed two frets (a step through a harmony). In any natural scale there will be only two steps on the next harmony, the others - through a harmony.
More difficultly with bezladovy tools. There are no frets - that at all. There is nothing to consider it seems. But here it is already necessary to attract own hearing to define position of fingers. And when fingers will rise on places, it will be necessary to consider “ fingers “ instead of frets. It is not absolutely convenient. As between one steps wide distance (as through a finger, tone), and sometimes fingers stand nearby (half tone). But as invisible frets (it is possible and so in the presence of imagination) it is inconvenient to consider as they are absent. Especially it is obvious in the top positions. How there to get (apart from) beginners in general badly understand. And the account of positions goes just on fingers, but not frets. Actually the account goes not “ fingers “ and scale steps. But “ fingers “ more visually, as fingers four, and steps in scale from five to 12.
It is clear, that for a start it is necessary to learn distances between the next steps of scale. It is the main outline of music. In the academic music and in the jazz these intervals can float so it is not necessary to be surprised that distances between the same steps in the same play are different on different sites. Examples of such floating structures are harmonious and melodic frets. The Russian romances are in the majority written in a harmonious or melodic minor.
The scale can be played on one string, moving a hand. But it is more convenient to pass from one string to another. For this purpose it is necessary to understand where there is this point of transition. And it is just the point of repetition of a sound of the next string mentioned above. In this case open. Such duplication of sounds is called “ unison “. It is, by the way, too an interval.
To understand where there are such unisons, it is necessary to know intervals between strings. For example, on a violin the fourth finger (a pure fifth) - a unison of higher string. And on a guitar the fifth porozhek. The exception on a guitar is made by the third string (considering from the thinnest). There a unison - the fourth porozhek. Respectively, it is intervals - pure quart (the fifth harmony) and a big third (the fourth harmony). If to take into account a unison on a violin not only with an open string, but also with any situation (the first finger), then it will be the fifth finger (which is not in a fingering). Thus, it is clear that on a violin without change of a position the unison cannot be taken in positions above zero (open strings). But it is also not required. For this purpose also unisons are necessary to choose, where more convenient (sometimes just perhaps) to play.
To postpone big intervals of which music consists it is necessary to be able to receive them addition simple (tones, half tones). It is clear, that the octave consists of quart (five frets) and fifths (seven frets). On a violin the octave to the pressed first finger turns out from a fifth (the next string the same first finger) and quarts (distance between the first and fourth). The first and fourth fingers are pressed.
To receive an octave on a guitar (on the lower, thick strings), it is necessary to present an octave as two quarts (through a string) and tone (a step through porozhek). And it is possible to stretch fingers and on a fifth (seven frets) on the next string.
Thus, it is clear that it is necessary to learn to count intervals of this or that party from intervals between strings. It is useful to understand well that such address of intervals. Then everything will become even simpler. All this is on the same first pages of the textbook.
Chords are under construction similarly. Only several intervals at the same time are built. For more convenient arrangement of fingers it is necessary to use transfers of some sounds on an octave up or down. It will allow to use open strings. Here also the knowledge of octava arrangements is useful.
How to train?
For training should not go in cycles in scales. It will not help business, especially with difficult music with alterations (changes) of steps. It is necessary to train, at first selecting slow melodies. It is necessary to be able to hear an interval of melodies and to automatically compare it provisions of fingers (at first, of course, it is necessary to consider a little). In the subsequent the same should be trained also on chords. Using notes, it is necessary to see in them the same intervals.
The same melody needs to be begun with different provisions of fingers and with different positions. It will allow to master a signature stamp better. Also it is necessary to be able to play a melody from any place. It is especially important at ensemble game. As it is possible to be mistaken and bring down the general game. And ability to enter in the right place after a mistake - obligatory skill.
For convenience it is good to learn sequence not only steps in scale, but also a posledovaniye of thirds. These are septakkorda of the first and second steps. They cover all sound row. A third and second - the main intervals of the majority of melodies. So is a basis of the theory. It is also possible to learn and triads of each step. For example, in a natural harmony three major, three minor and one reduced triad. And it is possible just to remember thirds at each step. Or all together.
should Know the Conclusion a little. Intervals and their addresses. Posledovaniye of intervals in a harmony (a major, a minor). To start seconds and thirds.
It is necessary to know where unisons of the next strings settle down. Unisons should be known not only to open strings, but to any position of a finger on a string. At the same time the musical interval between the next strings is considered.
It is necessary to know how octaves to any position of a finger on a string settle down.
From these points, knowing small intervals, to build any big intervals of a melody and chords in both parties.
Also during training it is necessary to remember always where there is the main tone (tonic). It is a reference point of all constructions. In the absence of understanding what is a harmony (not porozhek on a guitar, and the theory), it is possible to be guided by the first note of a melody.