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Hi Everyone,

Today's Target and Pay Per Lesson release is now live.

This popular piece is taken from The Notebook For Anna Magdalena Bach, dating to 1725. The pieces in the book were generally student level ones, compiled by the Bach family.

This Minuet had been attributed to J.S. Bach until the 1970s, when it was credited to Christian Petzold. There are many guitar arrangements and this one tries to be as accurate as possible to the original keyboard score.

The lesson walks through the two sections, and touches a bit on locating notes higher up the neck of the guitar.

Enjoy this level 4 lesson!

http://www.totallyguitars.com/target-so ... esson.html

Neil, I am always amazed by the quality of your playing, vibrato and all. Also your knowledge of the song being able to dissociate so easily the melody and the bass line. I had learned that one on my own a while ago and have completely forgotten it, so this lesson gets on top of the line.

Thanks for the lesson

Marc

Dumb question alert:
When thinking about what key a song is in, why is it important to know that the key of G has ONE sharp in it? I mean, if all major scales are a reflection of C algebraically, what difference does it make what name we give a note (sharp, flat) we play, if its relation to the other notes would be the same no matter what the key?

dtaylor wrote:

Dumb question alert:
When thinking about what key a song is in, why is it important to know that the key of G has ONE sharp in it? I mean, if all major scales are a reflection of C algebraically, what difference does it make what name we give a note (sharp, flat) we play, if its relation to the other notes would be the same no matter what the key?

Dean-
This is so far from a dumb question that I am not sure where to start. If you can think about things completely algebraically, there is little reason to be concerned about the key signature. In order for this to happen you should be able to hear a B7 chord as the dominant of chord vi, along with dozens of other relationships. This is completely attainable with enough theory and ear training. Most students need to see and hear how this works in familiar songs and progressions repetitively before recognizing those relationships.
Maybe more on this track on the News tomorrow.
Neil