At the age of twenty four I had been playing the cornet/trumpet for thirteen years. I had achieved my A-level music at Wells Cathedral School and I had a Bachelor’s Degree in classical music performance on the trumpet from the Royal Welsh College of Music and Drama. Having studied for six years with the top players and teachers and received masterclasses with some of the best players in the world I had never, at this point, had anyone explain the details of scales and modes to me, how they spell out the relationships between the twelve major keys and how ridiculously easy they would have been to learn if I’d only understood a few simple facts. Frankly I find this ridiculous and I can only speculate that the reason I had never been taught these simple facts is because the people who had taught me didn’t know them either. This is not in any way a criticism of my teachers; it is, however, a criticism of the way that music and music theory are taught in this part of the world.
When a pupil of mine has been playing for a couple of years, and is hopefully around what we may refer to as a “Grade 3” Standard I will start to teach them precisely how easy it is to learn all of the major scales just by understanding the way that they relate to each other. On the ABRSM Grade 3 trumpet syllabus is the scale of E major so I will begin by asking them to play that scale to me. I then explain that if we were to change one note (flatten the seventh) then it makes a different kind of scale, called a mixolydian scale. At this point it is usually within most people’s capacity to play a scale with one different note. I will then demonstrate that if you were to play the ascending part of this E mixolydian scale but on the way back down only play as far as the A it actually sounds more finished than if I were to carry on to the E I started on. This is a golden moment in aural training where the pupil can hear the function of V7-I in melodic form. This is very important in any genre of western music. This is a lesson that I was never taught. Provided the pupil can then play E mixolydian and finish on the A then I tell them that in fact they’ve just been playing the notes of A major, but starting on the dominant (fifth degree of the scale). So we follow on by playing the A major scale. To date I’ve never had a pupil who, using this method, cannot (without the music) then be guided to play around the circle of fifths all of the way from E major (four sharps) to A-flat major (four flats). Over time all that is then required is that we fill in the remaining three scales and the circle is complete.
By learning about the theoretical function of the mixolydian scale and its practical application a fairly inexperienced pupil can soon lose all fear of playing music in any major key. On top of this there is the advantage of repeatedly hearing the V7-I movement around the circle of fifths and learning how each key naturally guides you into the next.
I have this exercise written down and gladly share it here for anyone to use. I will emphasise that the real learning experience of this exercise is to be had from playing without the music but I do appreciate how having it written down is also very helpful so use and share as you wish. Notice that there are no key signatures written for this exercise. This way you don’t need to remember anything before you start playing – just read each note and play it.
CLICK HERE TO DOWNLOAD –> Major/Mixolydian Exercise (pdf)