QUOTE(Cyrilla @ May 13 2012, 11:03 PM)
QUOTE(dolce@piano @ May 13 2012, 06:06 PM)
The other two pieces they've included as non-classical are far better examples.
Agree the Tchaikovsky possibly not the best example but it is very definitely in the natural minor, despite the lack of a top 'la'.
My problem is actually with The Wayfaring Stranger! As a folk song, it obviously has many variations - but it is predominantly a song in a la pentatonic
tonality. Many versions of it ARE purely pentatonic and the one quoted on the website page is clearly pentatonic with two fa
notes - one of which is purely a passing note.
I did write to the board when the page first went up, pointing out that this was not a good example of a natural minor piece, but I see it's still there...
I think part of the problem is with the perception of the difference between a key and a scale. I once taught theory to a very clever man who was starting completely from scratch, and he would get angry at the slightest thing which he felt wasn't being explained properly (by the books, not just by me) and one of these was that you were taught two different minor scales, but actually only one minor key. I did my best to point out to him that the scales only showed you two different ways of "behaving" in that half of the scale, so no, you didn't get pieces in A harmonic minor or A melodic minor. So, similarly, I don't feel it's right to say a piece is "in the natural minor" - surely that applies more to pieces which are in an aeolian mode? Even in the explanation on the page, and please forgive me but I'm too tired to look it up now, doesn't it suggest that this scale is what's used in pieces that are not in the "classical" major/minor "system"?
I'd say the 6th and 7th in "that" passage behave quite correctly in the melodic minor, since they would only be raised if going all the way up to the tonic through 6 and 7, which they don't, and only lowered (or not-raised, depending on where you start from, please don't let's start that one again just now!
) if going down to the dominant through 7 and 6, which they are.
I've always looked upon this piece as being a model of the harmonic/melodic "behaviour" for want of a better word. The fact that they print it without the harmonies is a little misleading. If they hadn't attributed it to Tchaikovsky, I could have believed there was a different version without the sharpened leading note in the harmony of the cadence at the end.
But... I had a friend on another forum who had been an examiner for years, and he said they used to say AB stood for "Auntie Board"
There have been many times recently when Auntie got a bee in her bonnet and could not get it out (like the farcical thing about having to say if the second minor scale you played was a different form from the first, just in case the examiner couldn't tell whether you meant to do it or not)