![]() Daily long tone warm-ups and technical practice within the keys of each etude (major/minor/chromatic scales, arpeggios, seventh chords, patterns of intervals and sequences), using the variety of rhythms, articulations and dynamics found in each, will help you to more efficiently meet the technical and musical challenges presented in these selections. Take the time to mark accidentals, expressive and dynamic markings, and identify repeating patterns of scales, sequences, intervals, and varying articulations, to ensure that each etude is learned correctly from the start. M.23 - the low C on the first note of beat 1, change to an E-flatĪs you begin work on these etudes, study your music away from your instrument. M.22 - the low C-sharp on first note on beat 4, change to an A-flat (2nd and 4th notes in beat 4 of m. M.18 - the low C on the last note of measure, change to an E-flat ![]() M.9 - the low C-sharp on the last note of beat 1, change to an F-sharp ![]() M.6 - play the low C-sharps and low Ds up an octave 16 - last note is a G-natural, not a G-flat 14 - second note in BEAT 2 is a C-natural, not a C-sharp ![]() 14 - second note in BEAT 1 is an A-natural Therefore, A minor is the relative minor of C major (C major and A minor share the same key signature: no sharps or flats).Ĭ major is called the relative major of A minor.M. For example: in C major the sixth note is an A. It can be found by taking the sixth note of the first scale and playing a minor scale starting on that note. When a piece of music is in a major key, the relative minor means the minor key which has the same key signature. ![]()
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