Advanced Scale Concepts and Licks for Guitar: Private by Jean Marc Belkadi

By Jean Marc Belkadi

MI teacher Jean Marc Belkadi finds the secrets and techniques to making fascinating, over-the-top words. This booklet is the total source for making use of pentatonic, harmonic minor, melodic minor, complete tone, and lowered scales. The CD comprises ninety nine full-band tracks.

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Now, if the suggested parallel between understanding music and understanding our native language is to go through, we shall have to suppose that (1) the expressive meaning of harmonic `gestures' is assigned purely arbitrarily, and (2) their meaning will have to be learned in much the same way as we learn the meanings of the terms in our language, basically by ostension. We could no more simply absorb musical `conventions' than, pace Davies, we simply absorb our native tongue. I think it is fairly obvious that we do not learn the meaning of the expressive force of the harmonic and melodic elements of music through being shown what emotions they denote, and it is nigh impossible to imagine what such a process of teaching could 22 Philosophy, Music and Emotion be like.

Hanslick does indeed admit that there is `a certain class of ideas' which is quite susceptible of being adequately expressed by means which belong to the sphere of music proper. These ideas, Hanslick thinks, are those which `are associated with audible changes of strength, motion and ratio: the idea of intensity, waxing and diminishing; of motion hastening and lingering; of ingeniously complex and simple progression, etc'. 3 Later on we find the claim that `music may reproduce the motion accompanying psychical action .

But a wholly conventionalist view of music can make no sense. Music cannot be composed of an arbitrary selection of sounds to which are ascribed wholly conventional meanings like most of the words in our language. Still less could such an arbitrary selection of sounds be given not only meaning but expressive force. I do not want to give the impression that one can read off the 25 Contour and Convention expressive power of music simply from the physical nature of sound. There is no simple, accoustical theory of music's expressive power.

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