Minor Triad Open Voicings Part 3 3-9

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Make-Up-Your-Own-Progression Minor Open Voicings Exercise after you have mastered the Make-Up-Your-Own-Progression Major Open Voicings Exercise.

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Once you have mastered playing the Major “Make Up Your Own Progression Exercise”. Apply the same techniques to the Minor “Make Up Your Own Progression Exercise”.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/OVMUYOPMi.pdf” + target=”_self”]Make-Up-Your-Own-Progression Exercise in Minor[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can quickly and easily play the Minor Make-Up-Your-Own-Progression Exercise using the Im IVm Im progression.
I can quickly and easily play the Minor Make-Up-Your-Own-Progression Exerciseusing the Im V Im progression.
I can quickly and easily play the Minor Make-Up-Your-Own-Progression Exercise using the Im IVm Im V Im progression.
I can quickly and easily play the Minor Make-Up-Your-Own-Progression Exercise using the Im IVm V Im progression.
I have been improvising songs and hymns using the Minor Make-Up-Your-Own-Progression Exercise.

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Section 9: Modes and Chord Structure Exercise

Introduction to the Modes:

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Modes and Chord Structure Exercise after studying the Pachelbel Canon Project.[/features_box_yellow]

In addition to learning scales for the technical benefit, scales can also be learned to develop a harmonic repetoire in your subconscious. The traditional method of analyzing modes is to take a scale, for instance a major scale, then create modes by starting the scale on different degress of the scale.

Here are the modes of the major scale:
Ionian Mode (1-1) (Major Scale)
Dorian Mode (2-2)
Phrygian Mode (3-3)
Lydian Mode (4-4)
Mixolydian Mode (5-5)
Aeolian Mode (6-6) (Natural Minor Scale) (Relative Minor)
Locrian Mode (7-7)

However, when deciphering modes from an improviser’s perspective, it is much better to describe the modes from root note of each mode. In that case, we tend to hear the mode as a derivative of the original major scale. The reason that we do this is that as improvisers, we usually create a scale or mode from chords. For instance, if we see a minor chord in music, we often choose to improvise on the Dorian Mode from the bottom note of the chord. In this case, it is easier to hear a Major Scale with a flat 3 and flat 7.

Take each Major Scale Mode and play it in all keys. Listen carefully to the sound of each Mode. We will be discussing the Modes in depth in the Advanced Jazz Study section of this course. The exercises in this chapter is designed to start you thinking in Modes.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Modes from each note.pdf” + target=”_self”]The Major Scale Modes starting from each note in the scale.[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Modes from bottom note.pdf” + target=”_self”]The Major Scale Modes starting from each note in the scale.[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I have studied each Major Scale Mode in all keys and can hear the subtle differences in each Mode..

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Pachelbel Exercise Melody and Single Bass Note 8-1

Pachelbel Exercise Melody & Single Bass Note 8-1

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Exercise Melody & Single Bass Note after studying the Pachelbel Introduction.[/features_box_yellow]

Let’s take the chords of Pachelbel and use them to make melody. Remember – the chords are C-G-Am-Em-F-C-F-G. Start with C – going to G. When you make melody from one chord to another – think in “pick-ups”. Decide when in the measure you are going to start your pick-up. For instance, if you start on the and of three – you will have a four-note pick-up to the G triad. So, start on a chord-tone in C (C-E-G) and end on a chord-tone in G (G-B-D). Ask yourself: “How many ways can I move from C to G?” Once you have done this move from G to Am . . . and do this from chord to chord through the tune.

Once this is accomplished – play a five-note lead-in (starting on beat 3). Then, play a six-note lead-in (starting on the and of 2). Then, a seven-note lead-in (starting on beat 2). Finally – play spontaneously through the Pachelbel Canon. Play in all keys.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachMel1a.pdf” + target=”_self”]Pachelbel Exercise Melody & Single Bass Note Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachMel1b.pdf” + target=”_self”]Pachelbel Exercise Melody & Single Bass Note Page 2[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I have played many ways of creating melody with a four-note pick-up from C to G.
Then a five-note pick-up, six-note pick-up and seven-note pick-up.
Play from chord to chord.
Play spontaneously through the Pachelbel Canon.
Play in all keys.

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Pachelbel Exercise Open Voicings w/Melody Continued 8-6

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Exercise Open Voicings with Melody Continued after studying the Pachelbel Exercise Random Melody Exercise.[/features_box_yellow]

Once you can play open voicings with melodies in the top soprano voice . . . then, practice playing melodies also in the alto, tenor and bass voices. You can also play in thirds, sixths and tenths.

Play the Pachelbel Canon over and over until you sound relaxed, spontaneous and musical.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachOVwMelCont.pdf” + target=”_self”]Pachelbel Exercise Open Voicings w/Melody Continued [/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can easily play the Pachelbel Exercise with Open Voicings and melodies in the soprano, alto, tenor and bass.
I can easily play the above using thirds, sixths and tenths.
I can do the above in all keys.

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Pachelbel Exercise Open Voicings w/Melody 8-5

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Exercise Open Voicings with Melody after studying the Pachelbel Exercise Random Melody Exercise.[/features_box_yellow]

Now . . . let’s take one open voicing and move to another open voicing . . . for the purpose of creating a pick-up melody. For instance, take a voicing in C and play a melody which ends on G open voicing. Ask yourself: “How many ways can I create different open voicings and different melodic paths from C to G. Of course, start your pick-ups on different beats.

Then put on a metronome and choose one rhythmic patter to play through the entire Pachelbel Canon. Then, play many different open voicings and melodic rhythmic patterns through the Pachelbel Canon. Count out loud. Do this in all keys.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachOVwMel.pdf” + target=”_self”]Pachelbel Exercise Open Voicings w/Melody[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can play from C to G using different open voicings and different melodic pick-ups. Then, I can continue this through the Pachelbel Canon.
I can play with a metronome through the Pachelbel Canon using different open voicings and different melodic rhythms.
I can do the above in all keys.

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Pachelbel Exercise Open Voicings 8-4

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Exercise Open Voicings after studying the Pachelbel Exercise Random Melody Exercise.[/features_box_yellow]

Create a four-part “Open Voicing” by taking a three-note triad and duplicating one of the notes. The only note that we don’t want to double is the third. Doubling the third sounds a little “heavy”. So . . . take each chord in Pachelbel and slowly play lots and lots of four-note voicings for that chord. Remember, play the right-hand first (with two notes) and do NOT double the third when playing two notes in the left-hand. Once you have mastered playing the C Major Triad . . . move to G . . . and through the Pachelbel Canon.

Then play with a metronome. First play two quarter-note voicings for each chord. Then play four quarter-note voicings for each chord.

Then play in all keys.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachRandomBouncing2.pdf” + target=”_self”]Pachelbel Random Bouncing Open Voicings[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can play four-note Open Voicings on each chord slowly, all over the piano (without doubling the third).
I can play two quarter note voicings per chord through the Pachelbel Canon using a metronome.
I can play four quarter note voicings per chord through the Pachelbel Canon using a metronome.
I can play the above in all keys (take your time).

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Pachelbel Exercise Random Melody 8-3

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Exercise Random Melody after studying the Pachelbel Exercise Continuous Melody & Single Bass.[/features_box_yellow]

Play through the Pachelbel Canon using random starting points and random note time values. Remember, you can use Quarter Notes, Eighth Notes, Quarter-note Triplets and Eighth-note Triplets (also sixteenths). Put on a metronome (try Quarter-note to 70). Count out loud – so that you know precisely when you are starting the pick-up lick. Make sure that you end on the first beat of the next measure. You can also land on “suspensions” (more on that later).

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can easily play the Pachelbel Exercise Random Melody Exercise in all keys (this will take a lot of work).

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Pachelbel Exercise Continuous Melody and Single Bass Note 8-2

Pachelbel Exercise Continuous Melody & Single Bass Note 8-2

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Exercise Continuous Melody & Single Bass after studying the Pachelbel Exercise Melody & Single Bass Note.[/features_box_yellow]

Here again is the “Continuous Melody Exercise” . . . this time, playing through the chord changes of the Pachelbel Canon. In this exercise you play continuously . . . first using Quarter Notes . . . then Eighth Notes . . . then Quarter-note Triplets . . . and Eighth-note Triplets. To do this – start (at least mentally) on the second note and end your thinking on the first note of the next measure. This forces a forward, continuous movement through the changes. Of course, it is recommended that you use a metronome . . . first, slowly and then pick up the tempo. Play in all keys.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachMel-ContMelA.pdf” + target=”_self”]Pachelbel Exercise Continuous Melody & Single Bass Note Page 1[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/PachMel-ContMelB.pdf” + target=”_self”]Pachelbel Exercise Continuous Melody & Single Bass Note Page 2[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can easily and effortlessly play the Pachelbel bass note and Continuous Melody in all keys.

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Section 8: Pachelbel Canon Project

Pachelbel Canon Project Introduction

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study the Pachelbel Canon Project after studying the Question & Answer Exercises.[/features_box_yellow]

Now that you are thoroughly familiar with Open Voicings . . . and “Making Up Your Own Progression” and Question and Answer, let’s begin to utilize your skills by developing the familiar Pachelbel Canon. The Pachelbel Canon is created over a set chord progression, much the same as learning any tune.

The first skill to develop is to be able to play the progression in any key. I recommend learning the left hand bass notes first. Think of the progression in Roman Numerals. They are I, V, VIm, IIIm, IV, I, IV V. (Notice that the VI and III are both in minor.) Play this bass line in all keys calling out the Roman Numerals.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Pachbassline.pdf” + target=”_self”]Pachelbel bass line[/membership_download_item_pdf]

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Pachbass&mel.pdf” + target=”_self”]Pachelbel bass line with melody[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I can easily play the Pachelbel bass line in all keys.
I can easily play the Pachelbel bass line and melody in all keys.

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Question and Answer Minor 7-8

[features_box_yellow width=”75%” + border=”2px”]Level: Intermediate

Study Question and Answer Minor after studying the Question & Answer I IV V I Chord Changes.[/features_box_yellow]

To play the Im IVm V7 Im Q & A – first, study various minor scales and minor-type modes. For instance: Melodic (b3), Natural b3, b6 & b7), & Harmonic Minor (b3 & b6). Also use the Dorian (b3 & b7) and Phrygian (b2 b3 b6 b7) Modes. Practice and familiarize yourself with these scales first.

Then, make melodies using your ear. If you play the Bb . . . then avoid the B natural. If you play the Ab . . . then avoid the A natural. Always use the flatted third. You often use the harmonic minor scale from the I chord when playing melodies over the V7 chord.

[membership_download_item_pdf link=”http://jsfp.s3.amazonaws.com/Q-AMinor.pdf” + target=”_self”]Question and Answer Minor[/membership_download_item_pdf]

[features_box_blue width=”75%” + border=”2px”]Personal Evaluation

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I have familiarized myself with the minor modes and scales.
I have created minor melodies over the Im IVm V7 Im chord progression (in all keys).

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Category Archives: Intermediate

Minor Triad Open Voicings Part 3 3-9