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The note E Second Fret is actually a pedal tone in this phrase. A pedal tone is a single pitch that remains constant as the other pitches around it change. Let's look at the next series of notes, from beat 4 of measure 12, through beat 3 of measure 13.

On beat 1, the note E Second Fret is played with your second finger. On the '&' of beat 1, your third finger plays A Second Fret. On beat 2, your first finger plays G Sharp First Fret. On beat 3, your second finger should still be holding E Second Fret. Try this five note passage.

On beat 4, the note C First Fret is played with your second finger, so your first finger can play the note G Sharp First Fret on the '&' of beat 4. On beat 1 of measure 11, the note A Second Fret is played with your third finger. In this motive, your fingers are tightly collected.

'Fur Elise' is written in the key of A Minor. There is no key signature present. You can see places where the subtonic note G Natural is played, like measure 10 shows, and other places where the subtonic is raised to form the leading tone G Sharp, like measure 3 shows. Many of the phrases, and the composition as a whole, end on the tonic note A.

Although you may recognize the melody, it's a little different from the song we sing at the coming of the new year. Just after 1900, the music and the lyrics were reshaped again for our time. This arrangement will give you more experience with notes in the lower pitch range. The music is written in the key of F Major and begins with an anacrusis on beat number 4.

On beat 1, your third finger is placed on C Third Fret. On the '&' of beat 1, your second finger is placed on G Third Fret, as the note C is still ringing. On beat 2, your fourth finger is placed on F Third Fret. On the '&' of beat 2, the note C is struck again, as your third finger should still be holding the note. On beat 3, the note F is released to play E Second Fret with your first finger....

Your first finger must be ready to play F First Fret on the '&' of beat 2. The note F First Fret only sounds for a moment, then your third finger will land back on G Third Fret. A Open finishes the measure, sounding on the '&" of beat 4.

Before starting the song, you should be holding an F Major Chord in first position, then you're ready for the anacrusis and the entire first measure. Let's play the beginning. In this case, instead of barring across all of the first fret, you only need to hold notes on the three lowest strings. Then the note G Open is accessible when you reach beat number 3.

As you practice this music, remember the four voice format. The voices match the voicing of a choir. If you need help with finger placements, you may rely on the finger placement markings written in the music.

Let's try the first two measures. We'll follow the directional marking and play the introduction three times. The techniques you are using in the introduction are the key to practicing the rest of the song. If you can hold notes over, it's usually correct to do so.

This wonderful melody by Johann Sebastian Bach is part of a larger choral work. The key signature is showing one sharp, and the piece begins and ends on the note G. The last two measures of the music arpeggiate a G Major Chord. All of these occurrences are signs that the music is written in the key of G Major.

This song is written in the key of A Minor and favors notes in the lower pitch range. This music contains extensive stepwise motion in 3/4 meter. The chorus section shows simultaneous parts in two voices, so pay attention to finger placements on the fretboard when you are working on the chorus.

The third form is called the Melodic Minor Scale. This scale includes the altered submediant tone, F Sharp Fourth Fret and the altered subtonic note, G Sharp First Fret, now the leading tone. The altered notes are only played as the scale ascends. When the scale descends, the subtonic note, G Open and the submediant tone, F Third Fret return. The difference in the scale as it rises and falls is...

The second form is called the Harmonic Minor Scale. This scale includes the altered subtonic note, G Sharp First Fret. When the subtonic note is raised to create a leading tone, the gap between the submediant tone and the new leading tone increases to one and a half steps. The wider pitch distance is a feature in this scale; it creates a more exotic sound than the Natural Minor Scale provides.

CH9 L3 PG14 - A Natural Minor Scale

CH9 L3 PG12 - Key of A Minor - More Alterations

CH9 L3 PG11 B - Key of A Minor - Altered Form

CH9 L3 PG11 A - Key of A Minor - Natural Form

CH9 L3 PG8 - At the End of the Day

CH9 L3 PG7 - Playing Measure 4

CH9 L3 PG6 - Playing the Harmony & Melody in Measure 2

CH9 L3 PG5 - Playing the Chords in Measure 1

CH9 L2 PG22 - Tranquil Diversion

CH9 L2 PG21 - B Flat Major Chord in First Position

CH9 L2 PG18 - F Major in First Position

CH9 L2 PG15 - Playing the Arpeggios

CH9 L2 PG14 - Playing the Whole Note Chords

CH9 L2 PG10 - Playing the Octaves

CH9 L2 PG5 - F Major Scale