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In Part 2 I talk about the specifics on how to use the triads with the dominant 7 chords to create harmonic movement.

For example.

The G7 on the 2nd measure would have an E triad as the upper structure. So voicing it out would look like this:
G B F G# B E
this chord moves to an A- so if you just take the G# B and E and move them to A C E you have a really nice movement to the minor sound!

Sorry for the low audio for my speaking...if it is too low I can type it out for you guys if you want.

"only after you’ve learned 1,000 tunes do you realize that there are really only about 20 song forms and every tune is a combination of segments of these 20 forms"... I read somewhere on Hal Galper's website.
That statement goes with me for a few weeks now.
Who are those famous 20?

Man in general tries to break complex concepts into smaller bite size pieces.
Because of time the results and impact of the proposed breakdown is often not apparent.
I think how we have broken down the chromatic scale causes the learning experience to be longer than needed.

The result of the current system is an overly complex language which impedes reaching the goal(to be able to improvise) more than it should.(I'm not saying it doesn't work.)

I have a challenge for you if you’re game for it.

It’s developing the “Anything But That” method.

Eric goes in depth on some great and complex latin rhythm

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Ed "blesses us" with a great lesson series on independence and the song Life's Blessing

I'm starting to get back into playing a little and thought I'd share some of the exercises as I revisit them. Today I was reviewing harmonizing in sixes and thought I'd share one.