Stage 5 | Lesson: 44 | Step 3 – (theory) The gospel/church style is a fantastic sound that has a lot of blues influence and mainly removes 7th chords. Although in the gospel sound you will see more 7th chords, you’ll also see more triads and slash chords.
Stage 5 | Lesson: 44 | Step 4 – (theory) This is a great voicing to use over a dominant chord because of the #9 and half step it creates with the 3rd. This is a beautiful, out, sound this voicing creates.
Stage 5 | Lesson: 44 | Step 5 – (theory) That 6-8 time signature is a great feel that expands upon the 3/4 feeling. Where as the 3/4 feeling takes on a shorter phrase and faster pulse, the 6/8 time signature breathes more and contains longer phrases.
Stage 5 | Lesson: 44 | Step 7 – (improvisation) I love the texture that his hexatonic sound produces because of the natural 11 that contrasts with the b5. You’ll be using both of the those colors when using these two triads and they create a nice blend of natural tension.
Stage 5 | Lesson: 43 | Step 9 – (repertoire) In this step we’ll be going over a minor blues analysis. It’s not THAT different but there are obviously different harmonies and movements that you’ll need to be familiar with in order to effectively play this type of blues.
Stage 5 | Lesson: 43 | Step 6 – (theory) The 7/4 time signature takes on a more modern feel. It’s popularity has grown among straight groove artists such as Gerald Clayton and Robert Glasper.
Stage 5 | Lesson: 43 | Step 7 – (repertoire) In this video will work on playing tunes and changing them to fit the time 7/4 time signature.
Stage 5 | Lesson: 43 | Step 8 – (improvisation) We’ll work on improvisation with two diminished triads to produce a hexatonic texture over minor major 7th chords.
Stage 5 | Lesson: 43 | Step 1 – (technique) This blues line is taken mostly from the mixolydian scale which produces more of a dry blues sound compared to a full blues scale.
Stage 5 | Lesson: 44 | Step 3 – (theory) The gospel/church style is a fantastic sound that has a lot of blues influence and mainly removes 7th chords. Although in the gospel sound you will see more 7th chords, you’ll also see more triads and slash chords.
Stage 5 | Lesson: 44 | Step 4 – (theory) This is a great voicing to use over a dominant chord because of the #9 and half step it creates with the 3rd. This is a beautiful, out, sound this voicing creates.
Stage 5 | Lesson: 44 | Step 5 – (theory) That 6-8 time signature is a great feel that expands upon the 3/4 feeling. Where as the 3/4 feeling takes on a shorter phrase and faster pulse, the 6/8 time signature breathes more and contains longer phrases.
Stage 5 | Lesson: 44 | Step 7 – (improvisation) I love the texture that his hexatonic sound produces because of the natural 11 that contrasts with the b5. You’ll be using both of the those colors when using these two triads and they create a nice blend of natural tension.
Stage 5 | Lesson: 43 | Step 9 – (repertoire) In this step we’ll be going over a minor blues analysis. It’s not THAT different but there are obviously different harmonies and movements that you’ll need to be familiar with in order to effectively play this type of blues.
Stage 5 | Lesson: 43 | Step 6 – (theory) The 7/4 time signature takes on a more modern feel. It’s popularity has grown among straight groove artists such as Gerald Clayton and Robert Glasper.
Stage 5 | Lesson: 43 | Step 7 – (repertoire) In this video will work on playing tunes and changing them to fit the time 7/4 time signature.
Stage 5 | Lesson: 43 | Step 8 – (improvisation) We’ll work on improvisation with two diminished triads to produce a hexatonic texture over minor major 7th chords.
Stage 5 | Lesson: 43 | Step 1 – (technique) This blues line is taken mostly from the mixolydian scale which produces more of a dry blues sound compared to a full blues scale.
