chinese translation is for Chinese students
講到intro，其實有千千萬萬種不同的方式，除了之前介紹到的降五音intro，
這邊又多了另一種intro的idea。
我們可以稱這個intro為I - IV。
因為是不斷反覆在一級和四級和弦中，並且導入到第一個和弦的方式。
在PDF中的第一個intro就是單傳的反覆在一級大和弦（Major chord）和四級大和弦中，
最後接到ii - V - I。
第二個intro是反覆在一級Major chord和五級sus4中，最後也是接到ii - V - I。
Last month at the Vibes Bootcamp, Tony taught me this lick to use in Green Dolphin Street, and it's great in a bunch of other tunes too. I've been practicing it in all 12 keys in a couple styles, so here's all twelve swinging! Next step: Improvise.
Hi Guys this month i'm going to do a really basic lesson for those of you who wants to practice quartal voicings and applied them in modal jazz.
As usual feel free to contact me through my website: www.giovanniperin.com and to follow me on FB and Youtube!
Day 5: We've combined the top note passing tones with the inner voice passing tones. It's a little tricky to complete all this dampening in tempo, so be sure to pick a nice, relaxed pace to work at!
Day 4: Rather than having the top notes of the chords as the passing tones, we've changed the passing tones to inner voicings. These passing tones have the b9, which creates a different tension.
OK so it's 4 bars. Play it twice :-)
Get it under your hands and play it in C. Every few days play it in another key.
REMEMBER: play all these exercises in time. That is learn them and then make sure you can play it in time. Don't learn them out of time and then move on. Get it?
This is a great exercise to help you really start thinking about comping through the scales.
It's the A section to Little Sunflower harmonized in block chords.
It's easy and if you know the tune you'll easily play it in D minor.
Keep it around and whenever you want do the exercise HOWEVER do it different keys. This will really help your comping as you will start moving the chords up and down the keys.
Day 3: There are additional passing tones in m2, 4, and 6. M2 and 4 have b13 passing tones. This adds some tension to the voicings. As in the other lessons, dampen and create legato transitions between the notes.
Day 2: You will notice that the voicings are the exact same as day 1, but the major difference here is the dampening. Rather than attacking each new chord, dampen the one note that changes. This will create a nice, legato transition between chords. Observe all dampening and pedal marks.
For this week of 8MAD, we'll be looking at voice leading. I like to think of comping more in terms of voice leading. Rather than just thinking about 4 note voicings, it's also good to think about where each note wants to go. For day 1, observe these simple ii-V-iii-iV voicings. Pedal each new chord.