#modal guitar improv

[guitarguitarworld]

MINOR TOPIC-EASIER WAY TO IMPROVISE WITH MODES

Minor topic-improvising on modes mad easier for guitar

CLICK SUBSCRIBE! minor topic-an easier way to improvise with modes of music IMPORTANT: Please watch video above for detailed info: Hi Guys, Today, a quick look at another way of exploiting modes/improvisation on the guitar fingerboard. We will be creating music via concepts/musical tools based on this minor shape. Why do this? Because with this 5 fret shape arpeggio we can easily…

[dustedmagazine]

Of Darkness — Missa Tridentina (Sentient Ruin Laboratories)

This reviewer generally has little time for funeral doom, a subgenre that requires a whole lot of time, given its intrinsic relation to glacially slow paces and patterns of development. Instead of the oft-intended existential terror, much of the music inspires tedium, a narcotized death march into slumberland, not nightmare. The fact that this funeral doom band has hung the insipid moniker Of Darkness out on its shingle does not help or augur well. But some of the musicians’ names improve the picture: Javier Félez Rodríguez, appearing here as “Bastard” (ok), provided scorching lead guitar on Teitanblood’s excellent The Baneful Choir (2019); CG Santos also performed on that record, and his noise/blackened drone project Emanation makes hugely effective, deeply unpleasant sounds. But does the alchemy among the players lead to music that makes your skin crawl, rather than inducing terminal lassitude?

The answer is yes, for the most part, but you’ll first need to penetrate a thicket of fairly stale semiotic gestures. The anti-Catholic iconography on Missa Tridentina’s album cover art and song titles is plentiful — and sure, the Church is an evil mess and has been for centuries. But all the Latinate verbiage and skeletal figures sporting ritual robes and relics of occult significance fail to scare up anything all that terrifying. Better to let the music speak for itself. That speaking does not commence with promise. “Adjutorium Nostrum in Nomine Domini” is an instrumental intro that goes for symphonic grandness, but it’s dull stuff.

The next 38 minutes or so are much more interesting, and a large measure of that is generated by the electronics that warp the massive sheets of droning guitar noise. That’s Santos at work. Of Darkness has been releasing records intermittently since 2004, but Missa Tridentina is the first to feature Santos. His addition is crucial, if not obtrusive. Check out the long, climactic track “Requiescant in Pace.” The warble and fade in the vocals, the expert use of reverb—those are production techniques, but the band’s greater attention to the textures of their massive sound likely has much to do with Santos’s addition. In the song’s sixth minute, he asserts himself with flashes of piano, bordering on atonal runs. It’s just the right touch of dissonance. The creepiness the record seeks starts curling your toes. When the thick riffs returns, Santos treats it with several layers of weirding noise. It’s the best song on the record.

This reviewer underscores his lack of interest in the subgenre, but he also notes that there’s an interesting set of synonymies between music devoted to slow, agonizing dramatizations of death and the earthball’s current condition. All the attention to Christianity on Missa Tridentia suggests a backward-looking sensibility, to metal’s traditions and to older ideological forms. Bands like Of Darkness might stir more urgent emotions if they turned their gaze toward the present, to the modalities of slow death the human race endures, right now, this very minute.

Jonathan Shaw

[barstoolblues]

im like gee i love learning guitar! exclusively practices weird modal improv

[jasonbeblog]

Building Your Guitar Technique: Exercises and Drills for Developing Your Skills

Playing the guitar is a fulfilling and rewarding experience, but developing a strong technique is crucial for becoming a skilled guitarist. Whether you're a beginner or an experienced player, practicing targeted exercises and drills can significantly enhance your playing abilities. In this blog post, we will explore a range of exercises and drills designed to improve your guitar technique. By incorporating these practice routines into your daily routine, you can elevate your playing to new heights and unlock your full musical potential.

Warm-up Exercises: Just like any physical activity, warming up is essential before diving into intense practice sessions. Begin by gently stretching your fingers, wrists, and arms to increase flexibility and prevent injuries. Next, perform basic finger exercises, such as chromatic scale runs, finger stretches, and finger independence exercises. These warm-up exercises prepare your hands and fingers for more demanding practice sessions.

Finger Independence and Dexterity: Developing finger independence and dexterity is crucial for playing complex chords, scales, and intricate melodies. Practice exercises such as spider crawls, finger rolls, and finger combinations on each string. Start slowly and gradually increase the tempo as you become more comfortable. Focus on maintaining accuracy, clarity, and evenness of sound across all fingers.

Scale and Arpeggio Practice: Scales and arpeggios are fundamental building blocks of guitar playing. They enhance your fretboard knowledge, finger coordination, and improvisation skills. Practice major, minor, and modal scales in different positions and keys. Combine scale practice with arpeggio exercises to strengthen your finger positioning and picking techniques. Explore various patterns and rhythms to expand your musical vocabulary.

Chord Progressions and Strumming Patterns: Developing a solid foundation in chord progressions and strumming patterns is essential for rhythm guitar playing. Practice common chord progressions in different styles, such as pop, rock, blues, and folk. Focus on smooth chord transitions, clean strumming, and rhythmic accuracy. Gradually increase the complexity of the progressions and experiment with different strumming patterns to enhance your musicality.

Alternate Picking and Speed Building: Alternate picking is a technique that involves alternating between downstrokes and upstrokes to achieve fast and precise picking. Start with simple alternate picking exercises on a single string, gradually increasing the speed and incorporating string changes. Practice scales, arpeggios, and licks using alternate picking to develop speed, accuracy, and fluidity in your playing. Utilize metronome practice to maintain consistent timing and gradually increase your speed over time.

Fingerstyle Technique: If you're interested in fingerstyle guitar playing, dedicate time to develop your fingerpicking technique. Begin with basic fingerpicking patterns on open strings and gradually progress to more complex patterns involving chord changes and melodic lines. Experiment with different fingerpicking styles, such as classical, folk, or percussive fingerstyle. Incorporate exercises that target finger independence, thumb control, and coordination between the fingers.

Ear Training and Transcription: Ear training and transcription are invaluable skills for any guitarist. Train your ear by practicing interval recognition, chord progressions, and melodic dictation. Start by transcribing simple melodies or solos from your favorite songs and gradually tackle more challenging pieces. Transcription not only improves your musical ear but also helps you understand the techniques and phrasing of your favorite guitarists.

Rhythm and Timing Exercises: Solid rhythm and timing are essential for playing in a band or jamming with other musicians. Practice rhythmic exercises such as strumming along to a metronome, playing along with drum loops, or jamming with backing tracks. Focus on maintaining a steady tempo, playing in sync with the beat, and executing precise rhythm patterns. Gradually introduce more complex rhythms, syncopations, and accent patterns to further refine your sense of timing.

Bend and Vibrato Techniques: Bends and vibrato add expressiveness and emotion to your guitar playing. Practice bending notes accurately and smoothly, focusing on pitch control and consistency. Experiment with different types of bends, such as whole-step bends, half-step bends, and pre-bends. Similarly, work on developing your vibrato technique by practicing controlled and expressive vibrato on sustained notes. Use a combination of wrist and finger movements to achieve different styles of vibrato.

Articulation and Dynamics: Articulation and dynamics are crucial for adding nuance and musicality to your playing. Practice techniques such as hammer-ons, pull-offs, slides, and palm muting to articulate your notes and create smooth and connected phrases. Experiment with different dynamics, such as playing softly (pianissimo) and gradually increasing the volume (crescendo) or vice versa (decrescendo). Focus on playing with intention and expressing the emotions behind the music.

Incorporating Music Theory: While technique exercises are essential, it's equally important to understand music theory concepts. Learn the basics of scales, chords, chord progressions, and key signatures. Apply this knowledge to your practice by improvising, composing melodies, or analyzing songs you enjoy. Understanding music theory empowers you to make informed musical decisions and enhances your overall musicianship.

Consistent and Structured Practice: Consistency is key when developing your guitar technique. Set aside regular practice sessions and establish a structured practice routine. Divide your practice time between different techniques, exercises, and musical concepts. Set specific goals and track your progress to stay motivated. Remember to take breaks, listen to your body, and avoid practicing with tension or strain. Quality practice, even in shorter durations, yields better results than sporadic and unfocused practice.

[poorvanga]

How to Choose the Right Online Music Classes in tamil for You or Your Child

Poorvanga Online music classes in Tamil offer a great way to learn music from the comfort of your own home. They provide an excellent opportunity for students to learn from experienced and knowledgeable instructors and develop their musical skills in a relaxed and comfortable environment. However, with so many options available, it can be difficult to decide which online music classes in Tamil are right for you or your child. This guide will provide an overview of the different types of classes available, as well as some tips on how to choose the right online music classes in Tamil for you or your child.

Choosing the right online music classes in Tamil for yourself or your child can be daunting. With so many options available, finding the right fit for your needs and goals is important. Whether you want to learn music from scratch or improve on an already existing skill set, online music classes in Tamil can help you reach your musical goals. From experienced instructors to interactive platforms, there's something out there for everyone. With the right research and guidance, you can find the perfect online music class that will help you or your child learn Tamil music in a fun and engaging way.

What is Poorvanga and How Does it Help Learn Music in Tamil?

Poorvanga Online Music Academy in Tamil Nadu is an online platform that helps people learn music in Tamil. It was created by a team of passionate music enthusiasts who wanted to make learning music easier and more accessible for everyone. The platform offers users access to a wide range of Tamil songs, audio lessons, and video tutorials. With Poorvanga, users can learn the fundamentals of music theory and practice playing instruments such as guitar, keyboard, drums, and more. Additionally, they can also find resources to help them understand the nuances of Carnatic music and explore their creativity with songwriting tools. Poorvanga is an invaluable resource for anyone looking to take their musical journey further.

Poorvanga Online Carnatic Music Classes in Tamil Nadu provides students with an opportunity to learn the traditional Indian music style of Carnatic music. Through this platform, students get to understand the different learning styles and modalities that are associated with Carnatic music. They also get to discover the various techniques that are used in Carnatic music and how they can be applied for their own musical development. With Poorvanga online classes, students can develop their skills in a comfortable and convenient environment, allowing them to explore the depths of Carnatic music without having to travel long distances.

How Poorvanga Can Help You Learn Vocal Music Easily

Learning vocal music can be a daunting task, but Poorvanga is here to make it easier. Poorvanga is an online platform that offers online vocal music classes in Tamil, making it easier for everyone to learn the art of singing and performing. With the help of experienced teachers, you can easily learn how to sing and perform songs in Tamil or any other language. The classes are designed in such a way that even beginners can understand and follow along without any difficulty. With Poorvanga's easy-to-follow lessons, you can easily master the basics of vocal music and enjoy singing your favorite songs with confidence!

Why Poorvanga is the Best Choice for Learning Vocal Music?

Poorvanga is the perfect choice for those who are looking to learn vocal music. With its state-of-the-art technology and experienced instructors, Poorvanga offers the best learning experience for vocal music enthusiasts. It provides a wide range of courses that cover all aspects of vocal music from the basics to more advanced techniques. The courses are designed to help learners improve their performance and develop their skills over time. Furthermore, Poorvanga provides personalized feedback and guidance from its experienced instructors so that each learner can get the most out of their learning experience. With its comprehensive course offerings and personalized teaching approach, Poorvanga is truly the best choice for learning vocal music.

[videostak]

this is really interesting the sound quality on this is really good for a boot but also u can hear what i was talking abt how despite how much they rock it isnt very like interesting compared to what kraftwerk was doing before, to what they would do later, and to what dinger and rother would later accomplish with neu. the music here doesnt sound very different from your typical late 60s psych rock and the most interesting part of it(florians flute playing) doesnt come up too often too much and is obscured by rothers guitar playing (which doesnt seem anywhere near as defined as both on the beat club performance and on neu’s stuff) apparently this performance was after their beat club performance just a month later apparently and they sound less experimental and just more straightforward rock which i guess makess sense that the earlier performance would still have stuff in common with their first album and for the later one to be more even more overtly rock. rother said in an interview that the beat club technicians didnt understand the importance of florians flute and mixed it much lower than his guitar and i think the same problem is here since u can hardly hear it :( aside from that the sound on this is insanely high quality. on their beat club performance tho rothers guitar sounds much more closer to neu and like v distinct but hear he sounds p generically fuzzy and overdriven in that psych rock way and idk why.. like listening to this stuff its amazing that the first neu album was as great and just perfect as it was. like i wonder what changed that led them to play the way they do on neu which is just so much more interesting than this all things considered. i did read that rother said from the start he wanted to make music that was different from the american and english stuff so maybe it just took him awhile to really develop a strong playing style that was different or maybe he forgot about that while playing with kraftwerk due to the energy of the performances n stuff or maybe it was just a matter of being in the studio that actually brought out that commitment to his goal(keep in mind neu never really had any regular live performances like this) and maybe conny plank really was the final ingredient in bringing out the best of them. its amazing to listen to this and to realize that they did neu only a year later considering just how at peace that music seems to be compared to this. i dont want it to sound like i hate this theres lots of strong moments and im still listenign to it atm so maybe the later songs are even stronger (im on ruckzuck rn) but like compared to neu it feels a lot more self-indulgent and jam-feeling as opposed to neu which i always thought closer to like really meditative terry riley esque stuff or like just almost proto-shoegaze type rock. like i dont think it can be understated how much above neu’s music is above simple jamming/soloing and above like the 60s psych rock before it as great as that can be. with neu and the motorik they acheived a real infinite sound like v modal where theres no need for tension or release unlike here. also funny how despite song names from kraftwerks debut most of these are wildly different songs. im kinda surprised that ruckzuck is actually the same song well sorta since it has rother so is way different but like its stll ruckzuck sorta. sucks florians flute is so low ... oh yea also i rewatched an interview with rother today where he actually looked at a bootleg of this album and was like “we werent that good and if you listen to hallogallo and then this u can tell that i improved alot by the time we became neu” which is liek real tru :O i wonder what happened between here and neus first album like with kraftwerk and studio albums and tours u have that growth chronologically there but with neu u just have their first album from the get go its interesting how much both rother and dinger changed by the time they did neu.

[palilalia]

PAL-063 Chris Corsano & Bill Orcutt LP/CD

"Made Out of Sound"

New studio LP/CD recorded Summer 2020

Made Out Of Sound by Chris Corsano & Bill Orcutt

Sadly, many will hear Chris Corsano & Bill Orcutt’s latest LP, Made Out of Sound, as “not-jazz,” though it would be more aptly described as “not-not-jazz.” In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn’s late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley’s Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo — but if you’ve been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt’s style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz.

As for Corsano, well, it may seem daft to call this particular record “jazz” (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many “mere” improv records to transcendence, but here he’s crafted his polyrhythms within more narrative channels, bringing to mind his “mannered” playing in the lamented Flower- Corsano duo. It's not “groove” playing precisely, but it follows many grooves simultaneously, much like Orcutt’s own melodic musings — which is why they’re so naturally lock-in-key here.

Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), “I didn’t edit them at all. I overdubbed two guitar tracks, panned left/right. I’d listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the ‘lead’, though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.”

Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in “Man Carrying Thing,” but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with “How to Cook a Wolf,” its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine) until the end crashes upon the shore.

Much like Orcutt’s last solo album, Odds Against Tomorrow, there’s a gentler, almost pastoral flow to some tracks (“Some Tennessee Jar,” “A Port in Air,” “Thirteen Ways of Looking”) that calls to mind the mixolydian swamplands of Lonnie Liston Smith — but unlike Odds, other tracks (“The Thing Itself”) smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein.

With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound, we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room — we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon. — TOM CARTER

BUY CD

BUY LP (Currently sold out, repress expected in October)

Chris Corsano: Drums Bill Orcutt: Guitars Recorded Summer 2020 in SF & Ithaca Mastered by James Plotkin Photos by Hans van der Linden PAL-063 © & ℗ Palilalia Records 2020

[musicollage]

Arve Henriksen. Towards Language, 2017. Rune Grammofon. ( Guitars, Electronics – Eivind Aarset )  ~ [�� Album Review |      1) Pitchfork  +  2) All About Jazz  +    3) Headphone Commute   ]

1) Arve Henriksen makes jazz for people who like ambient music. This might sound like an unintentional insult—the Norwegian trumpeter is well trained and celebrated in jazz circles, and he often performs among Scandinavia’s most prominent younger players, such as Christian Wallumrød—but it’s also hard to deny. Towards Language, Henriksen’s ninth album under his own name, begins with a slumbrous murmur of bass and an unfurling trumpet theme, and this mesmeric register never wavers throughout the album. The melancholy saunter of Henriksen’s lines is isolated and sculpted by glimmering, whirring atmospheres full of emptiness and portent. Testing different ways to contrast eloquent material and enigmatic medium, the record plays like some lost collaboration between Wynton Marsalis and Brian Eno circa Ambient 4: On Land.

Henriksen’s long association with free-improv supergroup Supersilent and its influential label, Rune Grammofon, were his gateways to esteem in circles beyond jazz. But he has earned his wider attention with a trumpet tone so communicative it’s almost psychic, which he has described as being modeled on the breathy, insinuating timbre of a wooden flute. *Towards Language *would be the perfect album title imaginable for Henriksen if he hadn’t already made one called Chiaroscuro. Sometimes augmented by his ethereal vocalizations, his instrument always seems on the verge of speaking, writing a smoky legato calligraphy on the air. If the language is obscure, the emotions are instantly legible—romantic seclusion, piercing beauty, and a steadfast determination.

Henriksen is joined by Jan Bang and Erik Honoré, two old friends who’ve appeared on some of his greatest albums (Chiaroscuro, Cartography, Places of Worship), as well as the ECM-affiliated jazz guitarist Eivind Aarset. Together they gin up brooding, minimalist chamber music in which the simplest melodies whisper of unfathomable depths of feeling. The outstanding “Groundswell” is a dusky jungle seething with hidden birds and snakes, slow trap claps, and lapping waves of mysterious tonality, before Henriksen fills it up with his leafy curlicues and looping vines. “Demarcation Line” is a showpiece for his signature physics, how he swoons from interval to interval and bends pitches so sweetly it almost cuts.

*Towards Language *is also infused with a deep sense of history, like an excavation standing open in layers. It’s both personal—the atmosphere of “Hibernal” is tuned by a rusty harbor-bell clank, a device heard as far back as 2007’s Strjon, which suits Henriksen’s noir-ish style so well—and cultural. Album closer “Paridae,” turns a traditional song in the Kven language of Henriksen’s ancestral northern Norway (sung by Anna Maria Friman of Trio Mediaeval) into a waterfall leading to another world. Henriksen creates the feeling of an opaque jazz album you can walk right into, all timbre and feel instead of time and modality, the edges and angles sublimated into aching curves. You don’t need to be able to identify a head melody or count off arcane rhythms, but only to know the way you feel when you see fog slowly seeping through a valley, or smoke curling off a cigarette in the lonesome glow of a streetlight.

2) Following hot on the heels of Rimur (ECM, 2017), Towards Language is Arve Henriksen's second album of 2017 and brings his tally of releases to ten in the past five years. One of the more remarkable things about Henriksen is that even though the quantity of releases increases, their quality remains as high as ever. All of the hallmarks that make his music distinctive are still in place, as good as ever—the haunting melodies, soaring falsetto vocals and exquisitely beautiful trumpet. His sound is as individual as a fingerprint, the true mark of a great player.

Studio-recorded over two days in August 2016, Towards Language consists of nine tracks, of which the longest runs for just seven-and-a-half minutes. Such concentrated, economical music has typified Henriksen's output on such classic albums as Places of Worship (Rune Grammofon, 2013) and Chiaroscuro (Rune Grammofon, 2004). Henriksen has always stressed the importance of his collaborators in the creative process and, as on those two albums, here he is again joined by the team of Jan Bang and Erik Honoré of Punkt, the presence of whom is practically a guarantee of success. As before, the pair display their knack of constructing uncluttered environments that perfectly frame Henriksen and allow him to be heard to best advantage. Guitarist and electronicist Eivind Aarset is also present on every track and was involved in writing each one; he adds subtle shading without in any way deflecting the limelight from Henriksen.

Anna Maria Friman of Trio Mediaeval (with whom Henriksen recorded Rimur) sings on the album's closing track, "Paridae," a traditional "kven" or ancient Nordic song, her voice and Henriksen's trumpet combining in a perfect blend. On other tracks, it is left to his own voice and trumpet to conjure up an ambiguous mix of emotions that include melancholy and wistfulness. The end result is yet another stunningly beautiful set from Henriksen.

3) So here is how it goes… In terms of extended control of a single solo instrument, we’ve got Nils Frahm on the piano, Hildur Guðnadóttir on the cello, Mario Batkovic on the accordion, Andrea Belfi on the drums, and Arve Henriksen on the trumpet. [Please don’t all at once jump on me and point out other artists that I’ve missed or misplaced – this was more of a compliment and recognition of the above, versus an offensive statement to the ones I have omitted. Deal?] If you’ve been following these pages, and listening to the music contributing towards the evolution of this Norwegian trumpet player, then, at least you should agree, that, when it comes to breathy brass works, where the instrument completely merges with the voice, Henrikson is unlike any other.

I last visited with Henrikson’s music, released once again by Rune Grammofon, back in 2014, with Places Of Worship which derived its inspiration from the literal places of worship, sharing ten tone poems set around holy places. On his ninth album, Towards Language, we find this “major representative of a golden generation of Norwegian jazz musicians” supported by his longtime collaborators, Jan Bang and Erik Erik Honoré, as well as the “ECM-associated guitarist extraordinaire“, Eivind Aarset, exploring the language of music through the partnership with others. Improvised music, and in particular jazz music, has always established its own set of musical words, phrases, and sentences, exchanging ideas between each performer through predefined queues. A great example of that, of course, is none other than Miles Davis, who often recorded his sessions (like the Bitches Brew in 1969) without much advance notice or direction to the musicians.

“To express something on your own can be quite challenging at times.” says Henrikson, “I have for years been in creative collaborations with musicians and producers that have encouraged and inspired me. With this help and inspiration to discover new sounds and music, I have struggled and made my way to gradually be able to create some sort of language and a way of telling stories with my trumpet and singing. They have all coloured and gradually transformed me through different artistic timezones that I have passed through. All the information, concerts, discussions and impressions have had a significant impact on the process of gradually coming closer towards the core of communication through music.”

It’s fair to admit that I fail to recognize whether or not some of the music on Towards Language is improvisational or not, but what I can clearly hear is a conversation between the instruments sharing the same story. This conversation, of course, can not happen without a predefined lingo, without question and answer, without the space set to say something and, in turn, the space left to listen. It’s probable, that as an active listener, conveyed through this musical account, I, too, become part of the language, interpreting tales, narration, and chronicles, as they fit into my own sound-colored world, where certain notes trigger a feeling, a memory, or a response deeply buried inside my own psyche. For this to succeed, the artist’s ability to properly communicate must be splendid. And as a listener, I’m part of the music, of course, because, without language, the message is lost.

[besttablaplayerinindia]

On the Web Music Theory Lessons - You Can Learn in a Much More Fun and Interactive Way

Let us not beat around the bush in regards to taking best tabla player in india, it isn't always easy to find the correct teacher for your requirements, nor can it be easy to get a teacher whose program can accommodate yours, or viceversa. Often, students will miss too many courses, the majority of times for valid reasons. If you reside in a small town, the degree of expertise of private teachers might not satisfy your demands, or suit your learning style. Teacher - student relationships are based on a beneficial learning experience. Many people have wasted time attempting to study on books independently. This"experience" most usually ends up being very bothersome as the learners hardly ever really reach the level they wish to achieve.

Attempting to study musical theory from your self is like trying to invent a new math; you simply require the assistance of a teacher to describe theories. Certainly, the hunt is bothersome and also you can easily give up in your goal to learn music theory. Don't give up! In the event that you recognized yourself at one of the above mentioned scenarios, (which you probably did in the event that you're taking to this time to read this article), there is a remedy. (Yes, now's the time when you can begin feeling relief about not having to give your goal). That remedy is on the web lessons. A hunt on the internet using simple key terms in Google will immediately reveal the vast amount of advice and courses available. Quite impressively, the key words"online music lessons" provide 1 140 000 search results in 0.30 seconds!

Is it really that good? Some popular subjects found in online lessons include how to learn the guitar, guitar moves for beginners and how to play the keyboard. You can also find on the web instructions on a variety of different instruments, like woodwinds and brass. However, on the web lessons are far from offering tutorials on tool playing with only. Theory lessons teach crucial theoretical concepts in depth which every great artist should understand and know.

You can literally find lessons on any part of music theory. Newer learners can study basic concepts like note pruning, easy rhythms, ear training, scales, chords and intervals. If you're at a higher level, you'll find courses on more advanced concepts such as complex and syncopated rhythms, 1-2 tone and modal scales, as an instance, the traditional pentatonic scale often within Claude Debussy's music. Other notions include different caliber of chords, transposition and chemical time signatures to list a couple different advantages.

In addition to this vast availability of concepts made accessible through online theory courses, many different advantages think about: the simple fact that you can study anywhere, anytime and at your own pace isn't a small one. It's not necessary to take a weekly lesson, especially for adults who have an active career, or even for younger people that participate in extracurricular activities or sports teams. Maybe not being forced to travel to and from courses is especially crucial for the adult who needs to commute to work everyday, or to get the parent who's come to be a private cab service for their children's numerous activities.

For a lot of youngsters, the fact of accomplishing interactive theory on the web will likely soon be sufficient to motivate them to help expand their own musical interest. Moreover, it instructs the young learner to be independent and participate in their or her own education, hence understanding how to be considered a self-taught student, an art that is likely to be most useful in every area of life. In addition to that, he or she will be learning and improving on computer and Internet skills.

Most sites provide premium quality lessons at an extremely reasonable price. You may even get video lessons, and take quizzes and tests. You get the outcome at the click of a mouse. The accessibility to a teacher can be available nearly 24 hours each day on a number of the websites. In case you compare price versus quality and availability of the instructor, you can certainly figure out that it may be well worth it. In actuality, having a teacher available for you anywhere and at anytime... is priceless! The importance of the theory itself Exactly why is music theory so essential? It is imperative to your general musicianship and of one's understanding of music irrespective of the instrument you are playing with. Consider your self playing street hockey and being the ideal goalscorer on your team.

So, you try the local team at the arena... simply you can't skate. See where this is going? The same is true for your own musician. You can learn to play an instrument quite well, but provided that you don't understand and appreciate the theory behind it, your music-playing will probably never really get any sense. You could be tempted to think differently, however you'll even realise how wrong you're for thinking so once you"see the light" supporting the theory of this music. Quite a few things can be accomplished by analyzing and understanding music theory. As an example, understanding recurrent chord progressions where you will get familiar will help you in memorizing a song, or in understanding"at which in fact the music is going". You will acquire a better understanding of their interpretation, as well as a thorough understanding of scales and key specifications.

This facet is crucial for every aspect of music and cannot be stressed enough! It's the foundation of western music. Recognizing time signatures in order to help you determine where in fact the powerful overcome ought to be executed is also essential. Mentioned above are a few essential concepts, however the more you study, the more you will detect and be more cautious! Yes, but... Things are just not the same in a traditional setting, with the one hour per week, where you want to follow along with everyone else's pace (frustrating if they are slower OR faster). In either scenario, you are not getting the money's worthit.

The teacher is available for your requirements (also to most of the additional students) just 1 hour each week. Perhaps you'll feel shy to ask the teacher for clarification infront of dozens of youthful minds... However, using an online setting, there would be no need to feel misplaced about requesting a"dumb" question. (even though, we all understand such questions do not exist, right?) 1 obstacle Don't panic! The single requirement to online lessons would be also, well, to gain use of the Internet. But I am presuming that if you are reading through this at the moment, chances are this aspect is already looked after. Therefore, this internet site you're on today maybe the clear answer. Best of luck with your internet studies! Oh, something else, will love learning the pentatonic scale.

[t-underneaththeradardancing]

ulereaching for shards of moments - in the dust whirling - everything is starstuff but u knew that

mind weave day wake dream propellent music - trances the fuck out at 9 am - weighing chances - i settle for unlikely cuz of possibility and the odds are not great  - i set the course from memory - for when its just the motions going through - glide path day  

the plan  sorta the actual not far from 

wild card  always

today its sciatica not aces tho - s’ok i dealz not unexpected - maybe a joker later - theres a kitty like up my sleeve another kinda  ace  - a couple crows inna mix mostly came to share some love i think - a quiet thought perhaps a prayer - a happy thought peace seeking - wishing there was more time to wander - aimlessly seeking nothing - doing - fuck all and a couple errands - energy saving for the weekend - plan on playing both nights - sat w new friend - her name is vita - i forgot it 2x to start with i gave fair warning and i guessed close sorta - the 2nd  - she gave me her card im laffing cuz its true - i could blame it on the old as fuck but it lifetime chronic - she writes songs sings and plays guitar  - she throws off magic casual  - we havent really talked much - dont know much about her - we just play music  - and stare into space and dig the scene  - and laff a lot - every time so far liam has been there - we dont tawk that much either  - we join each others trances like a chord sequence w modal changes - the dorian confuse me every time - i wuz playing a ukulele cuz it handy while vita plays my guitar threatens a kazoo solo we call it a practice - tbh idk what she gonna actually do in my set but thats sunday  - she has heard me play some of my set - joined on harmony and improv vocals to my solos - never has a vocalist lissened so carefully to my playing and riffed off it trading notes and floating - and its fun - no fucking drama 

this started as a straight up poetry thing and then - i wonder if the same thing happen to dylan 

so imma rest b4 dinner 

later

[dustedmagazine]

John Edwards, Jeff Tobias, Jack Cooper, and Samuel Hollis — Ephemera (Trouble in Mind, Explorer Series)

Ephemera by John Edwards, Jeff Tobias, Jack Cooper and Samuel Hollis

The British band Modern Nature are no strangers to improvisation, but they are best known for doing so in a polystylistic blend of folk, indie rock and jazz. The group had a residency at Cafe OTO in May 2022. On the second night, they decided to augment their forces for a free improv set. Jack Cooper plays electric guitar; Jeff Tobias, alto and soprano saxophones and there are two bassists: John Edwards and Samuel Hollis. It is a great hybrid ensemble, unconventional in its grouping, which allows for exploration to be almost inevitable. If one didn’t know the musicians' regular outfit, it would be hard to guess.

It certainly helps the cohesion of the set that they know one another and their playing methods well. However, there is still a sense of spontaneity and a feeling that the group is listening attentively to one another, responding in kind. 

Tobias creates searing solos on soprano saxophone. When he shifts to tenor, he plays smoky mid-range modal melodies. Cooper cedes aggressive playing to Tobias, instead focusing on texture. The guitarist creates a number of ostinatos, at one point taking over the proceedings with a simple two-string pattern. Both musicians distress bent notes into sustained clusters of microtones. When he and Tobias join forces, the guitarist plays string bends that blend with the saxophone lines. The bassists take on complementary roles, frequently making up for the absence of a drummer with one thrumming on strings, while the other takes on an assertive  melodic role. Both Cooper and Tobias are challenged by bass solos two octaves below their playing. There are some truly enveloping arco passages that employ incandescent harmonics and intricate multiphonics. When they both create crescendos of percussive attacks, the results are powerful cascades of sound. This is sometimes supplemented by Cooper creating his own percussive swarm of sounds and by Tobias taking motifs from the basses to craft his own solos, and vice versa.   

The set clocks in at 27 minutes. Although well-developed, I could easily imagine it lasting longer. Modern Nature should keep exploring free improv opportunities: Ephemera is an excellent taste of what they might achieve. 

Christian Carey

[brucearnold]

Modal Sequencing -Two Note for All Instrumentalists

Two Note Modal Sequencing for All Instrumentalists

Modal Sequencing has long been a tool that musicians use to create great melodies and to improve their technical ability and aural comprehension. This series of courses covering Two, Three and Four Note Modal Sequencing provides a student with a comprehensive range of information on multiple levels to help understand this crucial aspect of music. Twenty Nine different modes are covered for a student to practice and master these important structures. Each course from Modal Sequencing shows how every melodic sequence could be changed to create not only other melodic but also rhythmic permutations, which gives an improviser many choices when applying these melodies. A PDF showing the modal sequence along with MP3s and Midifiles to hear each exercise have been included for all sequences. This greatly aids overall development because the student can check their accuracy when playing, singing or doing ear training exercises. Each course of the Modal Sequencing provides you with multiple exercises that you can do to improve your ear training skills. No matter how you use these exercises, by working with them you are using musically familiar patterns that will prepare you to improvise or compose over common melodies you encounter throughout your musical life. There are many ways these modal sequences can help your musicianship. Below are just some of the uses you will find for these courses: Developing new ideas for improvising whether you are a beginner or an advanced player Developing a deeper knowledge of the scales included in this study. Developing your technical skills. Modal Sequences are a "super" chops building machine. Developing your ear training skills by singing and hearing various examples. Developing the ability to both technically and aurally recognize common melodic movement. Developing a melodic language that allows you to be more compositional in your improvisations Developing a way to organize scalar ideas. Developing a way to use these melodic patterns on multiple metric levels. Please Note: If you are a guitarist we highly recommend that you also work with the Guitar Technique and Physiology Course so that you develop the modal sequences with the proper technique.

What's in each Course?

First, if you look further down on this page you will see examples from PDFs from the series so you can get a better idea of the layout of each course. Modal sequencing is playing through a scale with a pattern, such as playing a scale ascending and descending with thirds. This type of technique has been around since at least the 17th century. One listen to Johann Sebastian Bach's music will give you many examples of using modal sequencing as will listening to any Jazz, Blues or Heavy Metal player. The Two, Three and Four Note Modal Sequencing course uses 29 scales which include the following: Click on triangle to see lists of scales: Major Dorian Phrygian Lydian Mixolydian Aeolian Locrian Melodic Minor Ascending Dorian b2 Lydian #5 Lydian b7 Mixolydian b6 Locrian Natural 2 Altered Diminished Symmetrical Diminished Whole Tone Harmonic Minor Mixolydian b2b6 Major Pentatonic Minor Pentatonic Blues Harmonic Major Dorian b5 Phrygian b4 Lydian b3 Mixolydian b2 Lydian #2#5 Locrian bb7 This course concentrates on Two Note Melodic Sequences through 29 scales. There is a Bundle which contains all 29 scales or individual courses that contain only a subset of these scales. Below is a breakdown of the individual courses available for Two Note Modal Sequencing. Two Note Modal Sequencing Bundle contains all 29 Scales Two Note Modal Sequencing Group 1 contains the modes of Major Two Note Modal Sequencing Group 2 contains the modes of Melodic Minor Ascending Two Note Modal Sequencing Group 3 contains Symmetric, Major/Minor Pentatonic, Blues and Two modes of Harmonic Minor Two Note Modal Sequencing Group 4 contains the modes of Harmonic Major

Videos Included!

Videos are included to help you apply modal sequencing and play them more musically. Here is a list of videos include: Click on triangle to see lists of videos: Why You Should Work With 2 Note Sequences Working with Two Note Modal Sequences Working with Sixths Two Note Modal Sequences Moving in Major Thirds Two Note Modal Sequences Moving in Fourths Two Note Modal Sequences Applying 2 Note Sequences to Ear Training.mp4 Different scales are used more in certain idioms. Here are some overall recommendations: If you want to develop a well rounded music education and know 29 of the most used scales purchase the Bundle(s). Traditional rock players should choose Groups 1 and 3 Jazz players should choose the Bundle(s). Country music players should choose Groups 1 and 3. Blues only players should choose Group 3. Heavy Metal players should choose Groups 1, 2 and 3. Country music players should choose Groups 1 and 3.

Quick Links to Each Course

Each course includes a massive amount of PDFs, MP3s and Midifiles so that you can customize your study. Purchase the Bundle(s) to save money or individual courses if you prefer a single download. Two Note Sequencing Bundle Two Note Sequencing Group 1 Two Note Sequencing Group 2 Two Note Sequencing Group 3 Two Note Sequencing Group 4

Two Note Modal Sequencing Bundle

Two Note Modal Sequencing Bundle is the most cost effective way to study!

The Bundle contains all 29 scales in the Two Note Series. It will allow a student to learn the most commonly used scales on their instrument plus it contains multiple ear training exercises to internalize the common melodies that are used in all types of music. If you want MEGACHOPS then look no further. These modal sequences will give you a massive quantity of awesome melodies and if you use the midifiles you can speed up your technique over time. These modal sequences are also great for exploring new improvisational ideas, so if you are tired of playing the same old thing, then this is the ticket to expanding your melodic palette!

Two Note Sequences Contain All Melodic Intervals Within an Octave

Remember that the two note modal sequences contain all melodic intervals so learning these sequences prepares you for any melody. In addition, the 29 scales provide you a lexicon of multiple melodic intervals within each sequence so you are covering a large number of the melodic shapes you may find in music.

Who should use the Modal Sequencingcourse?

The quick answer is EVERYONE! But seriously, these sequences help you develop new ideas for improvisation and they will show up in your playing fast. They built build mega-chops but they also make your improvisation more compositional because you can pick sequences that have more affinity with a particular song rather than playing the same type of melodies on all songs. Modal Sequences also help you learn your instrument better and help you recognize scale patterns quickly. Modal sequences sound good at a slow or fast tempo so you will get great use out of them in your improvisations.

Playing Modal Sequences at Different Metric Levels

Playing modal sequences at multiple metric levels not only makes every sequence you learn more useful, but by also changing the type of rhythm used you can further disguise the sequence. Our Two Note Modal Sequence course goes into great detail on these subjects.

Examples from the Bundle Course Package.

Below are some examples from the Bundle Course which contains all 29 modes. There are five different types of files and each is tailored for a specific student level. You will find even more examples if you scroll down into the individual course offerings. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for C Major. Each line contains a new sequence. This is a good place for an advanced student to start because the only the ascending part of the scale is shown and it is assumed that the descending part will be easy to calculate. All modal sequences are written out for every mode and every key.

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for a Eb Lydian b7 Scale. Each line contains a new sequence. This is a good place for an intermediate or advanced student that only needs to see the sequence written ascending. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Minor Pentatonic modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files. This example shows both permutations of a 2 note modal sequence in C Lydian#2#5 scale using 6ths and ascending and descending one octave.

There are 504 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see the last type of exercise which shows you just one sequence. This example shows both permutations of a 2 note modal sequence in B Phrygian b4 scale using 3rds ascending and descending one octave.

There are 1008 MP3s for this type of file. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo... super slow or extremely fast with the midifiles that accompany this course.

Save money with the Two Note Modal Sequencing Bundle.

The bundle is a great way to save money. If you buy all four of the Two Note Modal Sequencing courses separately it will cost you 49.96. Get them now for the low price seen below.

Get the Two Note Modal Sequencing Bundle

ISBN: 978-1-59489-427-5 This course includes: 54 Page PDF, 6 Videos 15 minutes in total, 6,048 MP3s and 6,048 Midifiles Add digital copy to cart - $39.99 Status: Currently Available, Digital book is available for immediate download!

Two Note Modal Sequencing Individual Courses

If you prefer to order one of the 4 groups that comprise the Bundle you will find information on each below:

Two Note Modal Sequencing Group 1

Each group consists of a number of related scales. Group 1 covers the modes of Major as seen below Click on triangle to see lists of scales found in Two Note Modal Sequencing Group 1: Major Dorian Phrygian Lydian Mixolydian Aeolian Locrian The modal sequencing courses have been set up to work in more than one way. That is because there are different levels of students working with these courses. But also as you learn a scale and move it through all keys, you become more familiar with it so you don't need to see the complete sequence written out. Each of the Modal Sequences therefore has the sequences written out in various ways to accommodate these situations. Keep these ideas in mind as you work through them: Start the sequence at a tempo in which you are sure you are playing the correct notes. Pay close attention to the physical way you are playing, to make sure it is the most ergonomic. Say the note names or the degrees as you move through the scale until you feel it is second nature. Try to sing the sequence over a drone or key center. Use the "Long Line Rhythm" ideas as presented in the book to give a real boost to your speed. Work with the ear training MP3s so that you can recognize the pattern when you hear it.

The “Two Note Modal Sequencing” score and audio content

Any seven note scale will have 6 intervals i.e. 2nds, 3rds, 4ths, 5ths, 6ths and 7ths and each interval has two permutations for a total of 12. Therefore each scale will be permutated through these 12 combination in all keys. There are five different types of files found in this course. Two of these five types have audio in the form of MP3s and midifiles. Five different types of files are included because students require different types of files depending on their musicianship. As a student gets to know a scale or a sequence better they usually can deduce the rest of the sequence without seeing it totally written out. Keep in mind that you will find slight differences in how the modal sequence is written in different examples. This is done to make the sequence resolve on the beat.

Videos Included!

Videos are included to help you apply modal sequencing and play them more musically. Here is a list of videos include: Click on triangle to see lists of videos: Why you should work with Two Note Modal Sequences Working with two Note Modal Sequencing Working with sixths Two Note Modal Sequencing Moving in Thirds Two Note Modal Sequencing Moving in Fourths Two Note Modal Sequencing Using A Minor Third and Whole Step Three Note Modal Sequencing Applying Modal Sequencing to Ear Training

A Look at the Type of Files found in this Course

There are many types of PDFs found in this course. This files allow to choose the best files based on your level. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for C Major. Each line contains a new sequence. This is a good place for a advanced student to start because the only the ascending part of the scale is shown and it is assumed that the descending part will be easy to calculate. All modal sequences are written out for every mode and every key.

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for C Major. Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Lydian modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files. This example shows both permutations of a 2 note modal sequence in C Major scale using 2nds and ascending and descending one octave.

There are 504 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see an example of the last type of modal sequence. This example shows both permutations of a 2 note modal sequence in C Major scale using 2nds and ascending and descending one octave.

There are 1008 MP3s for this type of file. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo... super slow or extremely fast with the midifiles that accompany this course.

Get The Two Note Modal Sequence for all Instrumentalist Group 1 download today!

ISBN: 978-1-59489-415-2 54 Page PDF, 6 Videos 15 minutes in total, 1512 MP3s and 1512 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

Two Note Modal Sequencing Individual Courses

Two Note Modal Sequencing Group 2

Each group consists of a number of related scales. Group 2 covers the modes of Melodic Minor Ascending which as seen below Click on triangle to see lists of scales found in Two Note Modal Sequencing Group 2: Melodic Minor Ascending Dorian b2 Lydian #5 Lydian b7 Mixolydian b6 Locrian Natural 2 Altered The modal sequencing courses have been set up to work in more than one way. That is because there are different levels of students working with these courses. But also as you learn a scale and move it through all keys, you become more familiar with it so you don't need to see the complete sequence written out. Each of the Modal Sequences therefore has the sequences written out in various ways to accommodate these situations. Keep these ideas in mind as you work through them: Start the sequence at a tempo in which you are sure you are playing the correct notes. Pay close attention to the physical way you are playing, to make sure it is the most ergonomic. Say the note names or the degrees as you move through the scale until you feel it is second nature. Try to sing the sequence over a drone or key center. Use the "Long Line Rhythm" ideas as presented in the book to give a real boost to your speed. Work with the ear training MP3s so that you can recognize the pattern when you hear it.

The “Two Note Modal Sequencing” score and audio content

Any seven note scale will have 6 intervals i.e. 2nds, 3rds, 4ths, 5ths, 6ths and 7ths and each interval has two permutations for a total of 12. Therefore each scale will be permutated through these 12 combination in all keys. There are five different types of files found in this course. Two of these five types have audio in the form of MP3s and midifiles. Five different types of files are included because students require different types of files depending on their musicianship. As a student gets to know a scale or a sequence better they usually can deduce the rest of the sequence without seeing it totally written out. Keep in mind that you will find slight differences in how the modal sequence is written in different examples. This is done to make the sequence resolve on the beat.

Videos Included!

Videos are included to help you apply modal sequencing and play them more musically. Here is a list of videos include: Click on triangle to see lists of videos: Why you should work with Two Note Modal Sequences Working with two Note Modal Sequencing Working with sixths Two Note Modal Sequencing Moving in Thirds Two Note Modal Sequencing Moving in Fourths Two Note Modal Sequencing Using A Minor Third and Whole Step Three Note Modal Sequencing Applying Modal Sequencing to Ear Training

A Look at the Type of Files found in this Course

There are many types of PDFs found in this course. This files allow to choose the best files based on your level. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for E Melodic Minor (Jazz Minor.) Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for a Eb Lydian b7 Scale. Each line contains a new sequence. This is a good place for an intermediate or advanced student that only needs to see the sequence written ascending. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Altered Scale modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files This example shows both permutations of a 2 note modal sequence in C Dorian b2 scale using 5ths and ascending and descending one octave.

This example shows both permutations of a 2 note modal sequence in C C Dorian b2 scale using 2nds and ascending and descending one octave. There are 504 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see the last type of exercise which shows you just one sequence. This example shows both permutations of a 2 note modal sequence in Db Mixolydian scale using 2nds and ascending and descending one octave.

There are 1008 MP3s for this type of file. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo... super slow or extremely fast with the midifiles that accompany this course.

Get The Two Note Modal Sequence for all Instrumentalist Group 2 download today!

ISBN: 978-1-59489-416-9 54 Page PDF, 6 Videos 15 minutes in total, 1512 MP3s and 1512 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

Two Note Modal Sequencing Individual Courses

Two Note Modal Sequencing Group 3

Each group consists of a number of related scales. Group 3 covers two modes of Harmonic Minor and these scales: Two Symmetric, Two Pentatonic and the Blues Scales which as seen below Click on triangle to see lists of scales found in Two Note Modal Sequencing Group 3: Diminished Symmetrical Diminished Whole Tone Harmonic Minor Mixolydian b2b6 Major Pentatonic Minor Pentatonic Blues The modal sequencing courses have been set up to work in more than one way. That is because there are different levels of students working with these courses. But also as you learn a scale and move it through all keys, you become more familiar with it so you don't need to see the complete sequence written out. Each of the Modal Sequences therefore has the sequences written out in various ways to accommodate these situations. Keep these ideas in mind as you work through them: Start the sequence at a tempo in which you are sure you are playing the correct notes. Pay close attention to the physical way you are playing, to make sure it is the most ergonomic. Say the note names or the degrees as you move through the scale until you feel it is second nature. Try to sing the sequence over a drone or key center. Use the "Long Line Rhythm" ideas as presented in the book to give a real boost to your speed. Work with the ear training MP3s so that you can recognize the pattern when you hear it.

The “Two Note Modal Sequencing” score and audio content

Because this Group contains six, seven and eight note scales there will be different numbers of permutations for scales with different number of notes. There are five different types of files found in this course. Two of these five types have audio in the form of MP3s and midifiles. Five different types of files are included because students require different types of files depending on their musicianship. As a student gets to know a scale or a sequence better they usually can deduce the rest of the sequence without seeing it totally written out. Keep in mind that you will find slight differences in how the modal sequence is written in different examples. This is done to make the sequence resolve on the beat.

Videos Included!

Videos are included to help you apply modal sequencing and play them more musically. Here is a list of videos include: Click on triangle to see lists of videos: Why you should work with Two Note Modal Sequences Working with two Note Modal Sequencing Working with sixths Two Note Modal Sequencing Moving in Thirds Two Note Modal Sequencing Moving in Fourths Two Note Modal Sequencing Using A Minor Third and Whole Step Three Note Modal Sequencing Applying Modal Sequencing to Ear Training

A Look at the Type of Files found in this Course

There are many types of PDFs found in this course. This files allow to choose the best files based on your level. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for D Blues Scale. Each line contains a new sequence. This is a good place for an advanced student who doesn't need the whole sequence written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for Bb Major Pentatonic. Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Minor Pentatonic modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files. This example shows both permutations of a 2 note modal sequence in C Harmonic Minor scale using 4ths and ascending and descending one octave.

There are 528 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see the last type of modal sequence. This example shows both permutations of a 2 note modal sequence in Bb Symmetrical Diminished scale using 1 and b5 and then ascending and descending one octave.

There are 1056 MP3s for this type of file. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo... super slow or extremely fast with the midifiles that accompany this course.

Get The Two Note Modal Sequence for all Instrumentalist Group 3 download today!

ISBN: 978-1-59489-417-6 54 Page PDF, 6 Videos 15 minutes in total, 1584 MP3s and 1584 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

Two Note Modal Sequencing Individual Courses

If you prefer to order one of the 4 groups that comprise the Bundle book you will find information on each below:

Two Note Modal Sequencing Group 4

Each group consists of a number of related scales. Group 4 covers the modes of Harmonic Major which as seen below Click on triangle to see lists of scales found in Two Note Modal Sequencing Group 4: Harmonic Major Dorian b5 Phrygian b4 Lydian b3 Mixolydian b2 Lydian #2#5 Locrian bb7 The modal sequencing courses have been set up to work in more than one way. That is because there are different levels of students working with these courses. But also as you learn a scale and move it through all keys, you become more familiar with it so you don't need to see the complete sequence written out. Each of the Modal Sequences therefore has the sequences written out in various ways to accommodate these situations. Keep these ideas in mind as you work through them: Start the sequence at a tempo in which you are sure you are playing the correct notes. Pay close attention to the physical way you are playing, to make sure it is the most ergonomic. Say the note names or the degrees as you move through the scale until you feel it is second nature. Try to sing the sequence over a drone or key center. Use the "Long Line Rhythm" ideas as presented in the book to give a real boost to your speed. Work with the ear training MP3s so that you can recognize the pattern when you hear it.

The “Two Note Modal Sequencing” score and audio content

Any seven note scale will have 6 intervals i.e. 2nds, 3rds, 4ths, 5ths, 6ths and 7ths and each interval has two permutations for a total of 12. Therefore each scale will be permutated through these 12 combination in all keys. There are five different types of files found in this course. Two of these five types have audio in the form of MP3s and midifiles. Five different types of files are included because students require different types of files depending on their musicianship. As a student gets to know a scale or a sequence better they usually can deduce the rest of the sequence without seeing it totally written out. Keep in mind that you will find slight differences in how the modal sequence is written in different examples. This is done to make the sequence resolve on the beat.

Videos Included!

Videos are included to help you apply modal sequencing and play them more musically. Here is a list of videos include: Click on triangle to see lists of videos: Why you should work with Two Note Modal Sequences Working with two Note Modal Sequencing Working with sixths Two Note Modal Sequencing Moving in Thirds Two Note Modal Sequencing Moving in Fourths Two Note Modal Sequencing Using A Minor Third and Whole Step Three Note Modal Sequencing Applying Modal Sequencing to Ear Training

A Look at the Type of Files found in this Course

There are many types of PDFs found in this course. This files allow to choose the best files based on your level. Click on triangle to see a PDF example for first type of files. The page below shows multiple one octave ascending and descending sequences for C Harmonic Major. Each line contains a new sequence. This is a good place for an advanced student who doesn't need the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These type of files are meant for an advanced student who only needs to work with the ascending version of a sequence and can deduce the rest of the notes. There are no audio files with these sequences. Each sequence is presented in all 12 keys. Click on triangle to see a PDF example for second type of files. The page below shows multiple one octave ascending and descending sequences for C Mixolydian b2. Each line contains a new sequence. This is a good place for a beginner to start because the entire modal sequence is written out. All modal sequences are written out for every mode and every key.

There is no audio for these files These files present all the 2 Note Modal Sequences in one file which moves through all 12 keys. There is no audio for these types of files. Each sequence is played Ascending and Descending through one octave. There are twelve two note sequences for each key. All 12 keys are included. Click on triangle to see a PDF example for third type of files. This Bb Lydian b3 modal sequence is shown in triplets. This is one of many possible ways to change the rhythm of a modal sequence which can make it much more musical. This example shows a new modal sequence every two bars. The sequence moves two octaves ascending and descending. Again the presentation of the entire sequence is helpful when a student needs to see the entire sequence to play it correctly.

There is no audio for these types of files. Playing two or four note modal sequences in triplets or other odd rhythm groupings is a great way to disguise a sequence and also give it more interest. Because these modal sequences are played ascending and descending through two octaves they are good files for an intermediate level student to use to learn a sequence. Click on triangle to see a PDF example for fourth type of files. This example shows both permutations of a 2 note modal sequence in C Lydian#2#5 scale using 6ths and ascending and descending one octave.

There are 504 MP3s for this type of file. An example MP3 for the above score is found below: There are also 504 midifiles for these PDFs so you can play them at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo, super slow or extremely fast, with the midifiles that accompany this course. Click on triangle to see the last type of modal sequence. This example shows both permutations of a 2 note modal sequence in B Phrygian b4 scale using 3rds ascending and descending one octave.

There are 1008 MP3s for this type of file. Keep in mind that there are also midifiles for each example so you can play any exercise at any tempo. You can use these études for ear training, sight reading, transcription or just to listen to ingrain the sound of the note in the key center. Remember, you can play these examples at any tempo... super slow or extremely fast with the midifiles that accompany this course.

Get The Two Note Modal Sequence for all Instrumentalist Group 4 download today!

ISBN: 978-1-59489-418-3 54 Page PDF, 6 Videos 15 minutes in total, 1512 MP3s and 1512 Midifiles. Add digital copy to cart - $14.99 Status: In stock, Digital book is available for immediate access.

Reviews

What people are saying: I contacted Bruce because I was trying to get my improvisation going with the modes of major. He recommended doing some modal sequencing to give me ideas because honestly I had very few. I'm not much of a reader but by playing through a few of these sequences I quickly got some new ideas. I also purchased his "One Minute Lessons" which really helped me with adding in articulation to these various melodies. W. Volheim I'm a sax player and really have to thank you for these modal sequences. Especially the Harmonic Major ones. It's really hard to find any good information on them on the internet and your information on how to apply them to diminished chords really showed me that these are important scales. I also like the various types of files found in the course. I needed everything spelled out for me when I started but now I just look at the ascending part of the scale and can figure out the rest. I highly recommend this course it's one of a kind!J. Anders Being a singer it's always hard to find good courses that help me learn improvisation. This course with its MP3 was exactly what I needed. Having audio files really helped me hear these melodies and Mr. Arnold was correct I started just naturally singing these melodies quickly in my improvisations. I would recommend this course wholeheartedly. G. Butterfield I'm not one for books that much but I do like this course. I can just spend a few minutes looking at a sequence then I've got it and can start sticking it into my improv. I also found the information in the book useful. It was direct and to the point. S. Takeshi

Have a story or a review you want to submit. We would love to hear from you please send us an email.

Read the full article

[musicportbyjavier]

Composed in Spring 2014

Recorded July 2015

Flute: Summer Wilson

Guitar: Javier Castillo

This was one of the first pieces I ever wrote for an instrument other than guitar; the flute. I originally wrote the piece on keyboard, and was suggested by friend, a flutist by the name of Summer Wilson, to transcribe it for flute. She really brought out a lot of expression and possibilities to my initial ideas, and she offered me plenty of help with improving the parts I wrote. She was incredibly supportive and and I owe a debt of gratitude for being easy to work with. 

The piece itself was inspired by two sources: The book “ Twentieth-Century Harmony: Creative Aspects and Practice “ by Vincent Persichetti and The classical guitar works of the late Frank Wallace. In Persichetti’s book, he talks about the use of modal scales and how they're applied in classical music. Modal scales were one of the first concepts I really latched onto when I started learning music theory. I love using scales and modes for the moods they can convey.

[adamsams24]

View this post on Instagram

A post shared by Adam Sams (@erroneous_junk)

Modal mondays. Facilitated this week by @ehx pitchfork and my sex faces. . #guitar #guitarplayer #fender #gibson #pickupjazz #ehx #improv #improvisation #instamusic #mondaymood #monday #music #newcastle

[trisscar368]

I was a musician before I was an artist.

It perpetually drives me insane that there is no equivalent for practicing scales in art.

You run scales - major, minor, modal, harmonic, so you know patterns.  So the obvious equivalent should be drawing lines, yeah?   Straight lines and curves, angles and squares.  Connect the dots.

But it’s just...

Scales are something you hear.  It’s a lot about how you move, building up speed and clean technique, but it’s also about knowing what’s safe and what’s not.  It’s musical instinct.  If you spend enough time with basic scales all over the neck of your guitar, you’ll be able to go “this is in tune with this song”, and that lets you improv, it lets you build chords, it lets you hear and see and understand exactly how a larger piece of music works.

Give me four or five bars of a pop song on the radio and I can find you the key and I can hit all the pedal tones to riff over the top.  Tell me an etude is in G major and I can tell you how I have to position my hand at every anchor point up and down the neck, so I can structure the chords and predict where the runs will be.  I don’t even have to think about it: here’s the anchors, here’s the drop backs, here’s the stretches, here’s the common chords. 

And that’s literally how it works for every instrument, even vocal.  You run scales to a) learn your instrument and b) understand how to work inside the structure of the music you’re performing.

And for art I get... draw some straight lines.  Fill a page with circles.  Practice looking at things.

Great.  Hitting a single note right, a basic F7 chord, and key signature theory.

Where are my scales?

[mindseyemuse]

@kg.tsimshian asked me to post an improv over a mid-tempo rock song in Lydian...this is a little slower than that, but here's something I just recorded for him that I'm calling "Le Ripoff de Steve Vai" 😂 - - - - - #lydian #modes #modal #stevevai #satriani #ripoff #ethnicshred #shredguitar #guitarshred #guitarsolo #improvisation #guitarist #shred #guitar #fusion #rockstarguitar #guitaristsunite #guitarhero #guitarplaying #guitarporn #guitarshred #iloveguitars #riffwarsshred #guitaristsofinstagram #guitarrista #alternatepicking #legato #jackson #seymourduncan #floydrose (at Austin, Texas) https://www.instagram.com/p/Bx6GrsLDouA/?igshid=m533t5anzscb