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The Modes of G Melodic Minor
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The Modes of G Melodic Minor (Scales for Guitarists)
Guitare notes et tablatures
Guitar - Level 3 - Digital Download SKU: A0.1361060 Composed by Traditional. Arrang…
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Guitar - Level 3 - Digital Download SKU: A0.1361060 Composed by Traditional. Arranged by Danny Crocome. Contemporary,Instructional,Jazz,Rock,Traditional. Guitar Tab. 8 pages. Danny Crocome Music #945554. Published by Danny Crocome Music (A0.1361060). These info sheets show guitarists how to play the 7 modes of G Melodic Minor, in a variety of positions around the guitar neck. In standard notation and TAB, with note names and fingerings written into the score. All sheets also have the diatonic chords for each mode to enable students to know which chords belong to each respective mode. An excellent resource for guitarists looking to further their knowledge of scales, modes, and chords.
$10.00
9.17 €
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Guitare notes et tablatures
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Traditional
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Danny Crocome
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The Modes of G Melodic Minor
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Danny Crocome Music
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SheetMusicPlus
Prelude 6 in G Minor Dorian
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1191536 By Brian Golden. By Brian G…
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Piano Solo - Level 4 - Digital Download SKU: A0.1191536 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 2 pages. Brian Golden #791038. Published by Brian Golden (A0.1191536). Prelude 6 in G Minor Dorian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
5.49 €
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Piano seul
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Brian Golden
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Brian Golden
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Prelude 6 in G Minor Dorian
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Brian Golden
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SheetMusicPlus
Prelude 16 in G# Minor Phrygian
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1248575 By Brian Golden. By Brian G…
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Piano Solo - Level 4 - Digital Download SKU: A0.1248575 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 8 pages. Brian Golden #843067. Published by Brian Golden (A0.1248575). Prelude 16 in G# Minor Phrygian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
5.49 €
#
Piano seul
#
Brian Golden
#
Brian Golden
#
Prelude 16 in G# Minor Phrygian
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Brian Golden
#
SheetMusicPlus
Prelude 23 in G Major Lydian
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1292495 By Brian Golden. By Brian G…
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Piano Solo - Level 4 - Digital Download SKU: A0.1292495 By Brian Golden. By Brian Golden. Arranged by Brian Golden. Classical,Contemporary. Score. 4 pages. Brian Golden #883013. Published by Brian Golden (A0.1292495). Prelude 23 in G Major Lydian from 24 Preludes for the Piano in Major and Minor Modes by composer Brian Golden  The creative concept in writing these preludes is to provide a link to past preludes written for the keyboard, and in particular to the works of J.S. Bach and Frederic Chopin, whose works stand as essential repertoire for any student of the piano.  Using Bach’s and Chopin’s examples, my goal was to compose in all twenty-four keys, yet offer my own variation on the progression of key signatures – Bach’s being a pattern of major to parallel minor progressing chromatically through all keys, and Chopin’s a pattern of major to relative minor keys progressing clockwise through the circle of fifths.  In order to expand my harmonic and melodic possibilities, I have included the modal keys rather than only the major and harmonic minor keys, and have chosen to work counterclockwise through the circle of fifths, which is a more natural harmonic progression.  Therefore, all major preludes resolve from one to another V-I, as well as do all the minor preludes.  While there are seven modal scales, I decided to leave out the locrian modes for the following reasons.  First, due to the diminished fifth, the locrian mode cannot be thought of as either major nor minor.  Second, the locrian mode did not have a relative key to pair with, since there were no other keys with the identical characteristic notes.  In creating the key architecture, I determined that there was only one solution to pairing major and relative minor scales based on a shared parent key and characteristic note - ionian/aolian, mixolydian/phrygian and lydian/dorian.  This specific order of modal scales is the only order that would enable composing in all twelve key signatures.  Finally, the inspiration for each prelude came from playing through several other preludes in the same keys - mostly by Bach and Chopin - and letting their themes and styles influence me in the writing of my own.
$5.99
5.49 €
#
Piano seul
#
Brian Golden
#
Brian Golden
#
Prelude 23 in G Major Lydian
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Brian Golden
#
SheetMusicPlus
Sad Stories
Ukulele
Instrumental Solo,Ukulele - Level 2 - Digital Download SKU: A0.1084350 Composed by …
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Instrumental Solo,Ukulele - Level 2 - Digital Download SKU: A0.1084350 Composed by Loretta K. Notareschi. 20th Century,Classical,Contemporary. Individual part. 20 pages. Disegni Music #688529. Published by Disegni Music (A0.1084350). The Sad Stories for ukulele are intermediate level pieces. In music, the minor modes (aeolian, dorian, melodic minor, etc.) are often used to depict a sad mood. In this collection, these darker tones are explored in each of 7 minor modes: C, D, E, F, G, A, and B. Therefore, they offer the player a chance to practice several different key signatures, and thus different fingerings and chord positions. Each Story is expressive and intimate, evoking melancholy and, at times, brighter moments too.
$12.00
11.01 €
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Ukulele
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Loretta K
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Sad Stories
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Disegni Music
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SheetMusicPlus
Modal Moods
Harpe
Lever Harp - Level 3 - Digital Download SKU: A0.1287455 Composed by Darhon Rees-Roh…
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Lever Harp - Level 3 - Digital Download SKU: A0.1287455 Composed by Darhon Rees-Rohrbacher. 20th Century,21st Century,Celtic,Early Music,Irish,Multicultural,World. Score. 22 pages. Afghan Press Music for the Harp #878476. Published by Afghan Press Music for the Harp (A0.1287455). Seven Original Compositions In Varied Styles Based On Seven Modal Scales For All Harps (Lever or Pedal) With Guitar ChordsTable of Contents1. Ionian Intonation 12. Dorian Delight 33. Phrygian Phrolic 54. Lydian Lilt 75. Mixolydian Mirth 96. Aeolian Aire 117. Locrian Lament 13These tunes may be played on lever harps with an Eb, Bb, F, or C tuning or on any pedal harp. All tunes were typeset to fit exactly on two facing pages to eliminate any page turns within a piece. If desired, the length of each piece can be lengthened by repeating some sections; section divisions are indicated by light double bar lines. Many people are unaccustomed to hearing tunes based on modes other than the Ionian or Aeolian. Therefore, you may find some of the melodic contours or harmonies to be unusual, unexpected, or even uncomfortable. There are only three lever changes in this entire book – and they all occur on the last note of the piece. Guitar chords are included so that the melody may be played by any C instrument, accompanied by chords on harp, lute, guitar, or keyboard. Also, the transcribed harp part can be played on any keyboard instrument with only minoradjustments.Dynamics, fingering, and metronome markings are provided throughout as an aid to performance. However, the harper should use whatever dynamics, fingerings, and tempos suit them, no matter what this book indicates! The maximum range needed for each piece is only 26 strings (3.5 octaves) from low C to high G. Therefore, it can be played on a small harp encompassing that range. Simply treat the C two octaves below middle C as the lowest C on your harp and adjust the octaves accordingly. Ignore any 8va indications and shorten glissandos as needed.
$10.00
9.17 €
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Harpe
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Darhon Rees-Rohrbacher
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Modal Moods
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Afghan Press Music for the Harp
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SheetMusicPlus
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