In a previous video, we discussed learning the various major triads by playing them through the cycles of 4ths and 5ths. In this lesson, we will learn some ways to use these triads to build more complex chords.
Improvisation is the spontaneous creation of music. Depending on the style, there will be various guidelines and boundaries that define what will work, but in all these situations, there are three skills that need to be in balance. All of these can be improved using organized practice methods, as we discussed in this post.
After the last post about rehearsals, I got a message from a former student about his experiences with what we will classify as a “difficult person.” Most of the ideas we discussed there are about what we can do to be professional, but not about what to do about others who make the situation unpleasant or even unbearable. Of course, this is a moving target, since like a virus, bad behavior has a way of evolving…
One thing’s for sure: what they appear to want is different than what they really want. I will put what I think their real objective is, followed by what you might do to deal with it.
Over the years, I have gathered some ideas about rehearsal etiquette. I know I have messed some of these up, especially as a young, excitable musician. These ideas apply to every style of music, from orchestra to rock bands. (I have done both) Some of these might seem obvious, but believe me, there are musicians out there pulling all of these stunts.
Just my opinion, as usual…
Cycle of 4ths
Here is a lesson on practicing major triads through the cycle of 4ths. The pattern of chords ascending by perfect 4ths (two whole-steps and one half-step) is fundamental to tonal harmony, and is sometimes called “strong root motion.” Practicing these patterns helps us learn to find these chords in all 12 keys, and in an order they often appear.
I certainly don’t want to become part of the great diet debate, however, since a lot of people are fat, formerly including me, It seemed worth it to throw in my two cents. I am not any kind of expert on this, but I did my own research and found that eating healthy foods is not that hard if you commit.
Ever wonder why some keyboards are harder to play than others, or why your hands hurt after a gig on certain keyboards? In this article, we are going to look at certain design elements that make some keyboards hard to play. I tested a selection of keyboards available to me as a cross-section.
Many musicians focus on the amount of force it takes to press the keys, called touch weight. While this is important, here we will examine some other design features that can really mess up our ability to perform:
It may seem odd to have a part four in a three part series, but there are a few things to add that we can think of as the “filling” for our triangle. These have more to do with the planning and organization that goes into musicianship, as well as the emotional issues that come up as we attempt to grow and learn.
