# What kind of system is used in this tab ?



## Azrayel

Hello everyone,

I have been trying to understand from a very long time ago how a compositor (Michiru yamane) used a system in her song : Wood Carving Partita.

When I try to analyze the scale or the mode used in the measures, it always changed, sometimes it's a C Major, sometimes another scale based on G# and the chromatics used on the song don't help at all to understand how it was written.

I have attached the partition, can anyone tell me which scale/mode or system used to write such a beautiful masterpiece ?

View attachment Michiru Yamane - Wood Carving Partita.pdf


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## millionrainbows

It uses an E major key signature in parts. If you hear it in G#, it's phrygian.


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## EdwardBast

The piece is predominantly in A minor (never in C major). The first section begins in A minor, key signature notwithstanding, and ends sort of inconclusively in E major. The note G# is sometimes the 7th degree of A minor, sometimes the 3rd degree of E major. There is never a scale "based on" G#.


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## Azrayel

Thank you very much for trying to help, I am actually considering both of the answers, however : 

- I don't think it can't be an E Major, in the second measure, the author inserts a "C" & "D" which are not part of the scale 
- When I analyze in A minor, same thing happens in the second measure, the author inserts a "F#", "G#", while on 8 measure I see a "D#" inserted.

So far, I see a Phrygian dominant scale on G# as the most closest one, but again on 4th measure, a "G#" is inserted which confuses me, but still it contains the chromatic notes "B / C / C#/ D".

Is there any rule the author is following to know how to change or include notes that shouldn't be in the scale ? I'm highly interested in learning this variation technique please.

Thank you in advance for any further enlightenment.


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## EdwardBast

Azrayel said:


> Thank you very much for trying to help, I am actually considering both of the answers, however :
> 
> - I don't think it can't be an E Major, in the second measure, the author inserts a "C" & "D" which are not part of the scale
> - When I analyze in A minor, same thing happens in the second measure, the author inserts a "F#", "G#", while on 8 measure I see a "D#" inserted.


As I said, it begins in A minor (the key of A minor), hence the C and D naturals. The F# and G# in measure 2 are also in A minor. They're the normal raised 6th and 7th degrees in an ascending melodic minor scale.

The first section ends in E major (inconclusively). The D# is exactly what one would expect in E major - it's the 3rd of the dominant chord. All of the notes are in the "right scales" - but you shouldn't be focusing on scales! Music in the key of A minor can include any of the 12 chromatic pitches, depending on how they're used. For example, that D# could also be analyzed in A minor, as part of a V/V chord.



Azrayel said:


> So far, I see a Phrygian dominant scale on G# as the most closest one, but again on 4th measure, a "G#" is inserted which confuses me, but still it contains the chromatic notes "B / C / C#/ D".


No, no, no. It has nothing to do with any Phrygian scale.



Azrayel said:


> Is there any rule the author is following to know how to change or include notes that shouldn't be in the scale ? I'm highly interested in learning this variation technique please.
> 
> Thank you in advance for any further enlightenment.


It's not a variation technique. It's basic harmonic and scale theory. You are confused about the function of scales and the relationship between keys and scales. You are in need of a basic harmony course, that is, Theory 101.


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