I/V chords, Solfage, and Qobyz

So in Music Theory Class, we're starting to learn about one chords (I) and five chords (V). Ironically, we did a bunch of stuff involving a bunch of other chords before this, so I feel like this section might be a little easier... That is, if it there weren't some other complicated stuff involving the two chords. It's a lot to take in, but I'm starting to get it. Chord progressions are really not my strong point, and I don't have a lot of experience with 4-part harmony yet. I THINK the leading tone is scale degree 7, but I'm not too sure. It could be chordal 7th. I'm not entirely sure. Once I get this all sorted out, I'll explain it.

I didn't expect music theory to get so complicated, until I started taking a college course. The placement test was so easy, I thought I'd have no problem with it. But here I am, still trying to make sense of it all. I'm managing though. Luckily, I'm on good terms with one of the professor's four teacher's assistant, and laid back, so I ask him for help every once in a while.

The layout to my music theory class is a bit odd. It has one "discussion" class, which is run by one of the teacher's assistant. That's mainly homework review, and singing exercises. The exorcises I have to sing are in solfage, so when singing, say, a C major scale, you don't sing: "C D E F G A B C". Instead, you sing: "Do Re Mi Fa Sol La Ti Do". Sometimes, it can be tricky, and easy to tongue tie you. I don't have too much of a problem, but Fa, La, and Ti are a bit awkward, when having to jump to them in singing. Step-wise is not that bad, since you just go one note up (ex: Mi to Fa, or La to Sol), but when you have to leap, that's when it can get tricky (ex: Do to Fa, or Re to Ti).

Sorry about the lighting here.

In other news, I just finished learning about Kazakhstan music called "küi"  in Music Literature. Needless to say, it's quite unique. It's a narrative instrumental composition that's often written for this peculiar instrument called the "Qobyz" (also spelled "Kobyz"), and in my opinion, it sound beautiful. So tranquil. The sound is similar to that of a string instrument, and while I can not immitate the exact sound on the cello, I can at least be able to play that kind of music on it, since it can be achieved in the same octave.


There are two strings. Apparently, they play on one, and the other can be used as a drone. The concept of "droning" is not unfamiliar to me, as I've done it on my cello before. Heck, there were times where, as a cellist, I played solely for the purpose of droning. That was mainly in scale practicing back in high school, though. It's not particularly exciting, but I didn't mind. It sounded great, when the scale was in tune. I do have respect though, for those who have the patience to play an instrument that was solely made for the purpose of droning (the tanpura, for example), and then be able to play it in very, VERY long pieces (like an Indian Raga, which can last several hours long).

I don't have classes tomorrow, so I don't know what I'll do. Maybe look up ways of writing jazz or blues pieces, and then I might tell you all what I find. Saturday, I'm hoping to hang out with my friend, and maybe finish a Halloween-themed drawing.

With that said, thank you for reading, and have a good night!

-Jessi Muse