Here's a good version of etude 26 from Friedman's Dampening and Pedaling.

I am working on "Be Thou With Me" that Ted Wolff posted (above link). This is a work-in-progress.

Did I ever post this??? This is a great lesson by my mentor.

Chinese translation is for Chinese students
有很多Steve的學生問他說怎麼樣才可以增加和弦的詞彙，有些學生甚至會買很多關於和弦的書回家研究，並且想要藉此增加和弦的詞彙，但是Steve認為要用開放的思考模式來想這些和弦詞彙，比如說C大調三和弦一般人會認為這樣的音程關係就會存在C大調的一級和弦中，但是這三個音同時也可以出現在降B調中，分別能為9音也就是C，升11音也就是E, 以及13音也就是G。如果這個和弦只有三個音那就可以比四個音的和弦找到更多可能性，相對的五個音的和弦就更難找到適合的和弦，越多的音久越難找到合適的和弦。例如BCE這三個音，可以用在C大調中也可以用在a小調中或者是D13和弦中，F13和弦，d minor 13。不要覺得一個和弦只能有一個名稱，開放性的思考。現在試著找大三和弦，選一個大三和弦看看哪些和弦能讓這個大三和弦可以使用在其中。

LOL

Happy Birthday, Marie-Noëlle!

Barry

Once again, the line rules! Practicing making lines work without chords, then when you add the chords you're not using them to hold the fort down!

Too many players need the chords in there because they don't have their lines totally together. When you can really move the harmony via the line, the chords come in when you have time and when they're absolutely needed. Also you can be much more creative with the chords.