{"id":11686,"date":"2025-12-01T13:00:51","date_gmt":"2025-12-01T18:00:51","guid":{"rendered":"https:\/\/coopvdi.ca\/?post_type=product&p=11686"},"modified":"2026-03-18T10:30:36","modified_gmt":"2026-03-18T15:30:36","slug":"snell-keith-scale-skills-scales-arpeggios-chords-finger-exercises-level-4","status":"publish","type":"product","link":"https:\/\/coopvdi.ca\/en\/product\/snell-keith-scale-skills-scales-arpeggios-chords-finger-exercises-level-4\/","title":{"rendered":"Snell, Keith – Scale Skills : Scales, Arpeggios, Chords, Finger Exercises – Level 4"},"content":{"rendered":"

Le niveau 4<\/strong> repr\u00e9sente une \u00e9tape technique importante. L\u2019\u00e9l\u00e8ve aborde davantage de tonalit\u00e9s<\/strong>, les trois formes de gammes mineures<\/strong>, et des motifs plus proches de v\u00e9ritables arp\u00e8ges<\/strong> (mais encore simplifi\u00e9s).<\/p>\n

1. Gammes majeures (2 octaves, mains s\u00e9par\u00e9es)<\/strong><\/h3>\n

Nouvelles tonalit\u00e9s fr\u00e9quemment introduites :<\/p>\n

    \n
  • \n

    Fa majeur, Si\u266d majeur, Mi\u266d majeur<\/strong>
    En plus de la r\u00e9vision des tonalit\u00e9s \u00e0 di\u00e8ses d\u00e9j\u00e0 vues : do, sol, r\u00e9, la, mi.<\/p>\n<\/li>\n<\/ul>\n

    Objectifs :<\/p>\n

      \n
    • \n

      passages des doigts constants<\/p>\n<\/li>\n

    • \n

      assimilation des armatures \u00e0 b\u00e9mols<\/p>\n<\/li>\n

    • \n

      solidit\u00e9 du doigt\u00e9 sur deux octaves<\/p>\n<\/li>\n<\/ul>\n

      2. Gammes mineures (2 octaves) : naturelle, harmonique et m\u00e9lodique<\/em><\/strong><\/h3>\n

      Le niveau 4 est celui o\u00f9 appara\u00eet en g\u00e9n\u00e9ral la gamme mineure m\u00e9lodique<\/strong>.<\/p>\n

      Tonalit\u00e9s courantes :<\/p>\n

        \n
      • \n

        La mineur, Mi mineur, R\u00e9 mineur, Sol mineur<\/strong><\/p>\n<\/li>\n<\/ul>\n

        Points travaill\u00e9s :<\/p>\n

          \n
        • \n

          distinction claire des trois formes<\/strong> du mineur<\/p>\n<\/li>\n

        • \n

          ma\u00eetrise des 6e et 7e degr\u00e9s \u00e9lev\u00e9s dans le m\u00e9lodique ascendant<\/p>\n<\/li>\n

        • \n

          retour imm\u00e9diat au mineur naturel en descendant<\/p>\n<\/li>\n<\/ul>\n

          3. Triades principales (I\u2013IV\u2013V7)<\/strong><\/h3>\n

          Dans un ensemble plus large de tonalit\u00e9s :<\/p>\n

            \n
          • \n

            Fa, Si\u266d, Mi\u266d majeurs<\/p>\n<\/li>\n

          • \n

            ainsi que les tonalit\u00e9s \u00e0 di\u00e8ses \u00e9tudi\u00e9es pr\u00e9c\u00e9demment<\/p>\n<\/li>\n<\/ul>\n

            Toujours :<\/p>\n

              \n
            • \n

              triades bloqu\u00e9es<\/p>\n<\/li>\n

            • \n

              progressions I\u2013IV\u2013V7\u2013I<\/strong><\/p>\n<\/li>\n

            • \n

              mains s\u00e9par\u00e9es<\/p>\n<\/li>\n<\/ul>\n

              4. Cadences<\/strong><\/h3>\n

              Cadences dans davantage de tonalit\u00e9s :<\/p>\n

                \n
              • \n

                I\u2013IV\u2013I<\/p>\n<\/li>\n

              • \n

                I\u2013V7\u2013I<\/p>\n<\/li>\n

              • \n

                IV\u2013I et V\u2013I comme compl\u00e9ments<\/p>\n<\/li>\n<\/ul>\n

                5. Triades bris\u00e9es \/ Pr\u00e9paration aux arp\u00e8ges<\/strong><\/h3>\n

                Les patterns deviennent plus proches de vrais arp\u00e8ges :<\/p>\n

                  \n
                • \n

                  do\u2013mi\u2013sol\u2013do\u2019\u2013sol\u2013mi\u2013do<\/p>\n<\/li>\n

                • \n

                  motifs couvrant une octave compl\u00e8te<\/p>\n<\/li>\n<\/ul>\n

                  Ils pr\u00e9parent le travail des arp\u00e8ges complets<\/strong> des niveaux sup\u00e9rieurs.<\/p>\n","protected":false},"excerpt":{"rendered":"

                  Le niveau 4 repr\u00e9sente une \u00e9tape technique importante. L\u2019\u00e9l\u00e8ve aborde davantage de tonalit\u00e9s, les trois formes de gammes mineures, et des motifs plus proches de v\u00e9ritables arp\u00e8ges (mais encore simplifi\u00e9s). 1. Gammes majeures (2 octaves, mains s\u00e9par\u00e9es) Nouvelles tonalit\u00e9s fr\u00e9quemment introduites : Fa majeur, Si\u266d majeur, Mi\u266d majeurEn plus de la r\u00e9vision des tonalit\u00e9s \u00e0 di\u00e8ses d\u00e9j\u00e0 vues : do, sol, r\u00e9, la, mi. Objectifs : passages des doigts constants assimilation des armatures \u00e0 b\u00e9mols…<\/p>\n","protected":false},"featured_media":11685,"template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[127,129],"product_tag":[],"class_list":["post-11686","product","type-product","status-publish","has-post-thumbnail","product_cat-harmony-books","product_cat-musical-theory","first","instock","taxable","shipping-taxable","purchasable","product-type-simple"],"acf":[],"_links":{"self":[{"href":"https:\/\/coopvdi.ca\/en\/wp-json\/wp\/v2\/product\/11686","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/coopvdi.ca\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/coopvdi.ca\/en\/wp-json\/wp\/v2\/types\/product"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/coopvdi.ca\/en\/wp-json\/wp\/v2\/media\/11685"}],"wp:attachment":[{"href":"https:\/\/coopvdi.ca\/en\/wp-json\/wp\/v2\/media?parent=11686"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/coopvdi.ca\/en\/wp-json\/wp\/v2\/product_brand?post=11686"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/coopvdi.ca\/en\/wp-json\/wp\/v2\/product_cat?post=11686"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/coopvdi.ca\/en\/wp-json\/wp\/v2\/product_tag?post=11686"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}