Lesson Plans
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Giant Steps Exercises 1 – Augmented Scale Theory
Posted on December 28th, 2009 1 commentSummary:
These exercises assume the reader has already checked the introductory paper on Augmented Scale Theory. If you have not read the paper, feel free to do so here. If you are ready to start with the exercises, go for it! I have also included this set of Giant Steps [...]
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Augmented Scale Theory Exercises 1
Posted on July 31st, 2009 1 commentSummary:
Here are some Augmented Scale Theory exercises, for those who are looking for more application and insight into Augmented Scale Theory. These exercises relate to linear development when using scale fragments based on fundamental concepts in Augmented Scale Theory.
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Major Triads Warmup Exercise
Posted on May 31st, 2009 2 commentsSummary:
This exercise works every major triad, including all inversions in every key. It is most effective when played slowly.
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Major Scale Tips and Tricks
Posted on May 31st, 2009 2 commentsSummary:
Learn a very fast way to master all 12 major scales.
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Anatomy of a Melody, Part 3
Posted on May 21st, 2009 No commentsSummary:
Gaining melodic independence over a II-V-I progression — One of the challenges in improvising over a basic II-V-I chord progression is keeping a solo sounding unpredictable and engaging. Maintaining a focus only on chord tones can often lead to a very satisfying melody, but such an approach can begin to sound uninspired, predictable, and a bit tedious. Chord tone consonances within a melodic line can always be balanced with a focus on non-chord tone dissonances. Breaking free of chord tone dependency can be achieved by attaining a deeper understanding of tension and release within the II-V-I progression. The end result is a “melodic independence” and freedom to create a line as dissonant or consonant as you desire.
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Anatomy of a Melody, Part 2
Posted on May 21st, 2009 2 commentsSummary:
Learning chordal dependence over a II-V-I chord progression — One of the fundamental challenges of improvising over a basic II-V-I chord progression is knowing how to move smoothly from one chord to another, matching each new chord in the cycle. This may be achieved by maintaining a steady focus on chord tones, which tend to change with each new chord. This focus on chord tones is called “chordal dependence,” and the resulting melody can be quite consonant and strikingly beautiful.
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