Pachelbel Exercise Open Voicings 8-4 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 […]…
Pachelbel Exercise Random Melody 8-3 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 […]…
Pachelbel Exercise Continuous Melody & Single Bass Note 8-2 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 […]…
Pachelbel Canon Project Introduction 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. […]…
Question and Answer Minor 7-8 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 […]…
Question and Answer I IV V I Chord Changes 7-7 Now, practice Q & A with the I IV V7 I progression. Start by practicing the Ionian Mode (Major Scale), Lydian Mode (#4) (for the IV chord and Mixolydian Mode (b7) (for the V chord). Then, play a single note for the bass and single […]…
Question and Answer Chord Changes 7-6 When you change the chord patterns – you are “forced” to change your melodies accordingly. Use different chord patterns in your practice. Once you have practiced the sample chord patterns . . . make up your own. You can also take the chord pattern from any “Question” and mix […]…
Question and Answer Added Tones 7-4 We started Q & A by playing simply a single bass note and single melody note. Now, use your “ears” to add in additional tones. They can be chord tones, suspended tones, thirds, sixths, etc. You can also move the bass line to another chord tone, such as the […]…
Question and Answer Accompaniments 7-3 The purpose of these accompaniment patterns is to keep the music moving forward. Practice all the sample accompaniments and make up your own. Keep them simple and easy. Then, have fun making up simple melodic phrases over the accompaniment patterns. The accompaniment patterns can be in different rhythms, ie: 2/4, […]…
Question and Answer Continuous Melody 7-1 I like to use the Continuous Melody Exercise to develop a flow of ideas. The main intent is to play continuously, thinking forward to new destination notes. In addition, the Continuous Melody Exercise is valuable to learn to think in “melodic rhythms”. In other words, when you think of […]…
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