We played two concerts in August and the second was a live stream at the Greve Studio in Berlin.
I wanted to announce it beforehand, but I didn't make it.
But now ... I hope you enjoy it!
.
Today we talk about further application of the pedal point using non-functional harmony based on trias superimposed to a bass note.
We can build pedal point on the root or the fifth of the tonal area in which the tune is composed and on top of that build triads that moves:
1. chromatically
2. by whole tones
3. by major/minor thirds
I know I've posted this before. But one more time.
All great horn plays know this one.
I write it here over an F9 chord and at the end I head into Bb. Learn it in each key and then do the modulation and see if you can play it in all the keys without stopping.
And yes some of the keys you have to skip around octaves to play it.
Repeat it in each key. Try to play it 3 to 5 times without messing up.
