Let me put some idea here (perhaps everyone knows that already).
One may think the reason that we practice scale and related exercises
is technical. There is also a musical side of doing them. We don't
play those linear scales just to make our fingers get use to them, we
don't do them just to make the intonation better.
How do we know which part of a piece is on which key? If we set the
goal of scale-exercises as "to `know` the keys", not "to `play' the
keys", these exercises can be a lot more fun and meaningful to play.
I hope this somehow put more weight to Tony's comment.
The 3rd cello suite of J.S. Bach starts with a decending C Major
scale, for example. That's a piece of beautiful music, but that's
also something we play very often with no emotion at all. The first
3 notes in the 2nd mov of Mozart clarinet concerto are a broken
chord, which is also one of the most challenging music a clarinetist
ever meet in her (his) life.
※ 引述《EastEvil (NiHonKiIn GoDan)》之銘言：
: ※ 引述《selmer ( 徬徨)》之銘言：
: : 首先仔細看看這份譜是甚麼調的
: : 一首曲子可能會有兩到三個調性
: : 知道調性之後,再來就是必須先熟練這些調性的全音域音階
: : 因此練譜是從練音階開始,而不是一來就硬K譜
: : 我相信台大的木管們要求四升四降全音域音階應該是毫不過份
: : 最好還是能把所有大調都走完...(小調少用很多,除非曲子用到,不然先練大調吧)
: 括號中的說明頗有自相矛盾的嫌疑:
: 如果根本沒練過小調,怎樣去確認曲子的調性?
: 同樣是一個升記號的調到底應該是G大調還是e小調?
: 如果弄錯了會不會完全誤解音樂?
: 理論上,只要學過一點樂理,是不用去實際練過才知道大小調的區分
: 不過,實際上沒練過的話,誤解的可能性還是很大
: 其實小調會用到比較少?
: 我不同意這樣的說法.
: "世界名曲" El Camino Real(貴團不久前才演過)全曲大部分的時候都是在小調上
: 前面的快板大部分是d小調一部分轉到關係的g小調上
: 慢板前段是a小調後面一度轉到F大調,然後又轉回d小調
: 快板開始的賦格還是小調,最後才轉回G大調
: 類似這樣的例子多不勝數...
: 其實,去翻翻各樂器的教本,似乎沒有不練小調的,也是因為用到的機會很多的關係.
: 我的看法是三或四個升降內的調性不論是大小調還是應該都要弄熟才是.
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