Beautifully Twisted Sounds for Blues, Fusion & Beyond
Course Curriculum
- Seeing the Cells
- Cheat Mode: Easy Moveable Pattern
- Bolting Onto the Blues (Part 1)
- Performance: Targeting the ♭5
- Performance Notes: Targeting the ♭5
- Bolting Onto the Blues (Part 2)
- Performance: Targeting the 3rd & 6th
- Performance Notes: Schrödinger's Scale?
- Combining Minor & Major: The Essence of Diminished
- Cheat Mode: Minor 3rds
- Performance: Diminished Triads
- Performance Notes: Diminished 7th Arpeggios
- Seeing the ♭9: Concept & Breakdown
- Seeing the Key Centre: Using Octaves
- Performance: Putting it all Together
- Extending the Scale: Diagonal Approach
- Extending the Scale: "The Snake"
- The Equator
- Orientation
- Connecting It Up
- Pre-Performance Notes
- Performance: Rock Fusion Étude
- Post Performance Notes
- Module 1 Recap: Next Steps
- Module 2 Intro
- The Diminished: Harmony Review
- W/H or H/W? What's The Difference?
- Dominant Connections: Going Deeper
- Diminished Harmony: Building Chords
- Chordal Connections: Viewing Chords from Different Angles
- Performance: Chords As A Tension Device
- Performance Notes
- Pre-Performance Notes
- Performance: Bedding In Concepts
- Diminished Colours: Going Deeper
- Discovery: Adding Diminished Notes to Simple Chords
- Putting It All Together: Making Music With Diminished Harmony
- Performance: Fusion Étude
- Section 2 Intro
- Intervals: Minor 3rds
- Performance: Improvising With Rhythm
- Minor 3rds: Legato
- Building Vocab: Morphing Ideas
- Example Line #2: Minor 3rds
- Performance Notes: Example Line #2
- Up Down Pattern: Minor 3rds
- Intervals: 3rds & 4ths
- Example Line #3: 3rds & 4ths
- Performance Notes: 3rds & 4ths
- Intervals: 5ths
- Example Line #4: 5ths
- Intervals: 5ths & 6ths
- Example Line #5: Minor 6ths
- Pre-Performance Notes: 5ths & 6ths
- Example Line #6: 5ths & 6ths
- Intervals: Major 6ths
- Example Line #7: Major 6ths
- Orientation: Major 6ths
- String Skipping: Major 6ths
- Example Line #8: Wonky String Skipping
- Intervals: 7ths
- Example Line #9: 7ths & 2nds
- Sequences: Moving Cells In Minor 3rds
- Example Line #10: Breaking Up the Sequence
- Less Predictable Sounds: Moving In 4ths
- Classic Sax Sequence
- Coltrane Sequence
- Rhythmic Displacement: More Bang for Your Buck
- Example Line #15: Rhythmic Displacement
- Triads: Thinking Outside of Scales (Part 1)
- Triads: Thinking Outside of Scales (Part 2)
- Performance: Putting It All Together
- Performance Notes: Two String Triads
- Triad Pairs: Concept & Breakdown
- Example Line #19: Triad Pairs
- Brecker's Concept: Disguising the Triad
- Mixing Major & Minor: More Triad Ideas
- Triad Pairs: Major & Minor
- Module 2 Recap
- Module 3 Intro
- V to I Resolution (Part 1)
- How to Resolve: Seeing the Chords
- Performance Notes: Voiceleading
- V to I Resolution (Part 2)
- Performance Notes: Building on the Basics
- Diminished 7th Arpeggios: Thinking Beyond Scales
- Diminished 7th Arpeggios: Crafting Lines
- Adapting Arpeggios: Dim Maj 7th
- Pivot Arpeggios: Sounding More Melodic
- Diminished 7th Arpeggios: Building from the Root
- Resolving to Minor: V to i
- Performance: Minor Étude
- Performance Notes
- test