Pitch Class Set Theory and Practice Courses

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Pitch Class Set Theory and Practice Courses

Pitch Class Set Theory and Practice Courses

Here’s what’s covered in the Pitch Class Set Theory and Practice Courses.  The three courses combine étude-like exercises with a theory section explaining how these études were created.   That is what sets them apart from the Pitch Class Set Improvisation Études Courses which basically just give you études without any theory attached.

Organizing Pitches in New Ways

One of the main ingredients of pitch class set improvisation is organizing pitches in new ways to create a unique sounding melodic line.  The three courses (described below) within the Pitch Class Set Theory and Practice Course Bundle do this by either combining a hexatonic scale (6 notes) into two groups of three notes and pivoting back and forth between these two groups or using an octatonic scale (8 notes) and pivoting back and forth between two groups of four notes.

Historic Background of Pitch Class Set Theory and Practice Courses

Pivoting back and forth between two groups of three notes was one of McCoy Tyner’s favorite melodic tools, and he used it for improvisation as well as composition.  If you check out “Passion Dance” in the Real Book you will see McCoy pivoting back and forth between two major triads a whole step apart.  This creates a great sound and can be done with any two groups of three notes whether they are tertial triads or not.

Three Courses in the Pitch Class Set Theory and Practice Course Bundle

Symmetrical Trichord Pairs looks at all the combinations of two groups of three notes that are identical in their structure.  For a student learning this new way of improvising, having two symmetrical groups of three notes makes it easier to physically get these ideas under your fingers but also makes it easier to remember these combinations because both group of notes are identical in structure.

Trichord Sweep Pairs looks at all possible combinations of two three note groups and make these combinations into a six note arpeggio.  These six note arpeggios or sweeps as guitarists usually call them create very intriguing sounds.  For guitarists, these six note arpeggios can be played very fast because you are basically just strumming across six strings which can be played very quickly.  In order to properly develop this sweep technique I would recommend guitarists also take a look at the Guitar Technique and Physiology course to make sure they are developing the proper way to do this.

The last is the Tertial Octatonics Course which looks at all the eight note scales that can be created with two 7th chords.  This is a really great course because if you already know how to play 7th chords you can quickly put two of them together to create a very cool sound.  The book again gives you the theory behind each combination and the chord types that you can superimpose this sound over.

All three of these courses found in the Pitch Class Set Theory and Practice Course Bundle really give you some unique ways of combining three and four note groups of notes to create some new sounding melodic lines.  I personally like these courses because they allow me to be very compositional in my playing over any piece of music.  What I do, is look at the interval content of the melody of a song and then use that interval content to solo with the ideas presented in all of the books in the Pitch Class Set Improvisation Courses.

Making Your Improvisation Relate More to a Composition

You could think of this approach as playing off a melody of a piece of music, but on steroids.  You can do this both melodically and harmonically which can really take a piece of music to a very interesting place.  Just a quick example.  If you took the Jazz Standard “Stella By Starlight” and analyze the melody you would find that it is made up of mostly half steps and minor third movements.  That is an 013 in pitch class set theory.  Playing all the chords as 013’s really creates a very modern sounding version of this tune.

But you can do this with any style from Heavy Metal to Classical to Jazz! It works great and is one of the major reasons I got so involved in this Pitch Class Set Improvisation idea in the first place.

Bruce-Arnold-Guitar-Flutterby-Cycle 5 Importance of Modal Sequencing Pitch Class Set Theory and Practice Courses

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

Charlie Banacos Mushrooms Concept

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Charlie Banacos Mushrooms Concept

Charlie Banacos Mushrooms Concept

I studied with the inspiring music guru Charlie Banacos for 5 intense years. He introduced me to so many concepts of improvisation and composition, I could easily spend many lifetimes working on all of it. Because I wanted to pass along his teaching legacy, many of his concepts have been included in my books in way or another.     Charlie called one of his approaches “Mushrooms” and they became part of many courses that are now available on the muse-eek.com website.  The overall idea of Charlie Banacos Mushrooms Concept is to take any group of notes and figure out everywhere that you could play those notes as a melodic line or a harmony.  This concept will “Mushroom” your playing because anything you learn can be used in a multitude of ways. Let’s take as an example the notes of a C Major 7 chord C, E, G, and B.  Then let’s look at some of the places where you could use those notes.  In order to do this we have to know the possible chord tones and tensions that are available for any chord type.    

Chord Tones and Available Tensions

From looking at the information in these books you would find for instance that a dominant chord can have:

  • Chord Tones: 1,3,5,b7
  • Tensions: b2, 2, b3, b5, b6, and 6

Charlie Banacos Mushrooms Concept appears in many courses on the muse-eek.com website here are some of those courses:

Applying Charlie Banacos Mushrooms Concept

Let’s now look at some possible places where C, E, G, and B would work as a chord replacement or for that matter a melodic line.  Playing the C, E, G, and B over the following chords would work because those four notes are either chord tones or available tensions on the following 7th chords:

  • D7
  • Eb7
  • Bb7
  • A7

There would be more possibilities if we included avoid notes in our calculations but believe me the list is large enough without this information.  Charlie would add one more step to the “Mushrooms.”  You then add in Approach Notes to the new superimposed notes.  You will find a detailed explanation of this in the Approach Note Course.  

An Easy Way to Apply Charlie Banacos Mushrooms Concept

Coming up with a list of every chord that C, E, G, and B will work over is time consuming and it’s easy to miss some relationships.  To solve this I created the Sonic Resource Guide which lists every possible combination of two to eleven notes and which chord each of those pitch class sets can be used over.  That list is something I access daily (although I pretty much have it memorized at this point) as I work with various note combinations. But think of the Sonic Resource Guide as Charlie Banacos Mushrooms Concept on steroids.

The Sonic Resource Guide is part of the Pitch Class Theory Course Bundle which also comes with the Tools for Modern Improvisation and the Bruce Arnold Composition Companion.  So think of the Sonic Resource Guide as your reference book for every combination of notes and the Tools for Modern Improvisation as a book that shows you some common uses of many improvisational techniques derived from the Sonic Resource Guide. Finally, the Composition Companion shows you examples of real music using these ideas.

Conclusion

Hopefully you can see the powerful uses of a book like Sonic Resource Guide because through the listing of every possible way to combine a group of notes within a octave you can easily take any group of notes and look up all its relationships.  This is why I recommend that all students have the Sonic Resource Guide.  It is the key to finding all the relationships such as the Charlie Banacos Mushrooms Concept and many others.

Bruce-Arnold-Guitar-Flutterby-10 Minor Key Ear Training Applying Pitch Class Set Course Charlie Banacos Mushrooms Concept

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

Études

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Études to teach music

Études To Teach Music

The use of études to teach music goes back hundreds of years. One of the most famous ones was the Chopin Études but there are also books by:

Igor Stravinsky
Heitor Villa-Lobos
Darius Milhaud
Andres Segovia
Olivier Messiaen
John Cage
Pierre Boulez
Karlheinz Stockhausen
Brian Ferneyhough
Claude Debussy

The list goes on and on throughout the history of music. These études do two main things. They teach technique and they present new ideas for the music lexicon. But there is no better way to integrate new things into your playing, and that’s why I have created the Pitch Class Series and the études within it.

Pitch Class Set Études

Using Pitch Class Sets for composition and improvisation will present you with new ideas on combining pitches, but this takes time. Your ear needs to grow accustomed to the sound, and you need to get some muscle memory by doing each exercise.

Pitch Class Set Improvisation methods often use other ways of combining pitches to create new sounds. Below are some of the ways they do this:

  • The use of hexatonic scales (6 note groups) which are often divided in trichords (two groups of three notes.) McCoy Tyner was one of the first musicians to use this in improvisation.
  • The use of three 7th chords to make up a 12 tone grouping such as 23rd chords, invented by Charlie Banacos.
  • Sweep arpeggios that move through multiple octaves. The Tertial Octatonics course is a good example of this, which is available in the Pitch Class Set Theory and Practice Courses.
  • Collections of diads which can be used both in a Chord Tone and Tension superimposition or as a harmonic progression. The Sonic Resource Guide (which is part of the Pitch Class Set Theory Courses Bundle) lists these for every possible scale. Again, a technique often employed by McCoy Tyner and every modern piano play since.
  • The use of non-tertial (not built in thirds) trichords and tetratonics (four note groupings). Musicians from Pop, Rock, Jazz and other idioms use these chords all the time.

Pitch Class Set Improvisation Études Courses

All of these techniques are further explored in the Pitch Class Set Improvisation Étude Courses. By the way, these études are also excellent for ear training because they help your ear hear more advanced types of key centers. Just use the MetroDrone to create your key center and jump right in singing these études. They will do wonders to help you hear new kinds of key centers which will help you to be a more creative musician.

I created all of the étude courses for myself, to help me get these advanced concepts into my ear while developing the technique needed to improvise freely with each new idea. This is an idea that Charlie Banacos drilled into me by making me write so many exercises by hand in all keys and then using them as étude books.

As you can see from my list of the composers above, this goes back through the ages and you are part of this history. Just take a look at the Music Education Genealogy chart to see how the very things that you are studying from my various courses goes all the way back to Scarlatti and includes musicians such as Mozart, Beethoven and Haydn to name a few. But it also includes contemporary musicians such as Chick Corea, Herbie Hancock and Keith Jarrett.

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Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

Applying Pitch Class Set Course

 

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Applying Pitch Class Set Course

Applying Pitch Class Set Course Reorganization

I’ve written a lot of books on Pitch Class Set Improvisation, 32 books to be exact. It was time to organize these books into groups to help people see understand each type of book in the series. The Pitch Class Set Improvisation Series has been divided up into four different types of books:

I’ll write about each type in different blog posts. This post will talk about the Applying Pitch Class Set Courses.

Who Uses Pitch Class Set Improvisation?

One question I get about pitch class set improvisation is “who is using this stuff?”  Recent research into the late recordings of John Coltrane is showing that he used the 013 pitch class set in abundance.  013 would be a three note grouping and would contain a 1/2 step and a minor 3rd.  It’s not surprising to me that Coltrane gravitated to 013.  013 is the most flexible pitch class set, it can be substituted for any chord type which can’t be said of any of the other 11 three note possibilities.

I’ve written over 30 compositions using 013, it kinda gets under your skin after you start working with it.  An excellent way to dabble with 013 and some of the other pitch class sets that I find the most useful is to work with the Applying Pitch Class Set Courses. These four books don’t require that you know anything about Pitch Class Sets. These books just give you application directly to real music. This is an excellent way to see how to use these sounds and then later you can dig deeper into understanding Pitch Class Sets at a deeper level.    

How To Get Started With Pitch Class Sets

If you were just starting out with Pitch Class Set Improvisation I don’t know if I’d recommend starting with 013 unless you are a pretty advanced musician.  Pitch Class Sets like 027, 015 or 016 would be much easier to apply right off the bat.  For instance, if you take a easy three chord folk tune that uses major and minor chords and change the chords to an 015s you will have a super cool sounding progression.  If it’s a G chord play the chord voicing F#, G and D.  Then let’s say you have a D major chord make that into C#, D, A and finally an A minor chord make that B, C, G.  Now you have 3 chords that are all 015’s and check it out, they sound beautiful, rich and fresh.      

Applying Pitch Class Set Course Work

This is the type of work you will do with the Applying Pitch Class Set Course Bundle.  It contains four courses that work with simple chord progressions, Jazz Standards, 013 and finally how to move pitch class set chords chromatically.  Since these four books work with three note chords they are probably more useful to a guitarist, pianist or composer BUT if you arpeggiate any of these chords in any of those books you are going to have some pretty hip melodic lines.  I use them all the time!    

Check Out These Links for Applying Pitch Class Set Course

Check out the videos and audio files found at the links below to see examples of how these four courses can give you a lot of new sounds and new applications of harmonic and through arpeggiation new melodic lines.

I hope this little glimpse into the Applying Pitch Class Set Course Bundle helps you to understand that Pitch Class Sets aren’t some hard thing to understand and use.  Take little chunks of the ideas presented and you can enrich your melodic and harmonic palette instantly.

Bruce-Arnold-Guitar-Flutterby-10 Minor Key Ear Training Applying Pitch Class Set Course

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

Importance of Modal Sequencing

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Importance of Modal Sequencing

Importance of Modal Sequencing

The Importance of Modal Sequencing is something that is overlooked by many musicians. The ideas and techniques that are used within Modal Sequencing are the foundation of many of the musical concepts used in the creation of melody and the rearranging of melodies to make up motifs and other patterns that create structure and meaning within music. I’ll cover some of these ideas in this blog post as well as helping musicians understand modal sequencing.    Many courses that I have published contain the basic elements found in the Modal Sequencing Bundle.    Just to name a few:

All of these use the ideas of Modal Sequencing on a macro level as a way to organize and see all possible ways to use any group of pitches.  This helps you organize sound in your mind so that you can make educated choices on how to:  

  • Work with motifs when composing or soloing.
  • Build natural melodies that interrelate as you improvise.
  • Organize your practice so that you can see your goals clearly.
  • Alter a melody both rhythmically and melodically to give yourself more bang for your buck with each new phrase of music that you learn.
  • Understand what great improvisors are doing when they play .

On a micro level, be aware that any group of two notes has two possible combinations and 4 combinations when doing transposition within one octave.   So three note groups have 6 possible combinations and 18 possible permutations when using them within one octave.  Understanding this information and knowing how to use it to your benefit is crucial when working within a musical environment.  Just this basic knowledge gives you:  

  • New ways to form melodies and chords.
  • Ways to change a super simple rock progression into new chord voicings.
  • New ways to find the simple building blocks of more difficult music.
  • Ways to change more advanced structures like slash chords or 3 note pitch class set into new chords and melodies.

So you can see that knowing the basics of modal sequencing is a crucial aspect on understanding music on a macro level and working with it on a micro level.

Essential Scales has a truncated version of Two and Three Note Modal Sequencing and for some students it might be all they need.  On the other hand, one of the reasons I created Two and Three Note Modal Sequencing was because so many students were having a hard time figuring out a complete modal sequence from only seeing the few note patterns that are used in the Essential Scales course.  For instance, if you want to play a Symmetrical Diminished scale ascending and descending in 4ths how do you do that?  Well it’s a bit tricky, especially if you don’t know the scale very well yet.  So with the Modal Sequencing Bundle all sequences are written out ascending and descending so there is no confusion.  That can save you a lot of frustration, believe me!

Some students are not great readers of written music and fear that the Modal Sequencing Bundle will require them to read.  The answer is yes, it will require you to read but only until you understand the sequence being used, and then you are encouraged to stop looking at the written notes, and just learn the modal sequence everywhere on your instrument and in every key.  So you would be better off thinking of the Modal Sequencing Bundle as a reference book where you get your ideas, and then go off working on them on your instrument and applying them to Jam Tracks.  This is the best approach for this course.

Bruce-Arnold-Guitar-Flutterby-Cycle 5 Importance of Modal Sequencing

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

Common Building Blocks of Melodies

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Common Building Blocks of Melodies.

Common Building Blocks of Melodies.

What in the Modal Sequencing Bundle and how can you use this course?   We tend to think of melodies as magical….they can catch our ears or penetrate our heart. They are the reason we remember certain songs or solos for years. But it is important to approach melodies as structures or sequences, and once you have that perspective, you will be amazed at what you can do in this area.    

A total beginner usually doesn’t know about the common building blocks of melodies. One of the most used is a modal sequence or melodic pattern, so I often recommend that students learn a few modal sequences to help spur their creativity. When using this approach the Two Note Modal Sequencing course becomes more of a reference guide, rather than a technique exercise or singing method.

Steps to Making the Common Building Blocks of Melodies

So the first step is to open the course and just randomly pick a modal sequence. Next, you want to figure out how to play the modal sequence on your instrument. Last, you want to add some embellishment to the melodic pattern. Some common embellishment are:

  • Sliding up into a note.
  • Sliding down into a note.
  • Bending up to a note on a stringed instrument.
  • Pre-Bending and releasing down into the note on a stringed instrument.
  • Hammering on, or pulling off of a note on a stringed instrument.
  • Using any of the 12 chromatic or diatonic approach note figures.

By adding these embellishments you will make your sequence sound much more musical.  Different idioms use certain types of embellishments more than others.  For instance if you are a budding blues guitar player, using bends is indispensable.    

Altering the Common Building Blocks of Melodies

Next thing you want to do is decide where rhythmically within the measure you want to play your modal sequence.  Usually I just have students improvise, placing the notes where they don’t have too much to think about initially.  But eventually you need to vary your phrasing in as many ways as you can think of, otherwise you may fall into the trap of always placing those notes in the same place –which creates boredom for you and the listener.    

That is why I recommend the One Minute Lessons for Phrasing because it gives you many ideas on how to change a musical phrase to create a new sounding melody. Some of phrasing changes can be as simple as changing where that melody starts within a measure, or very complex as you combine multiple phrasing concepts.    

See Progress Quickly

The nice thing about modal sequencing is that it comes out in your playing quickly.  Other music techniques such as approach notes into chord tones on beats one and three (which is one of the cornerstones of the Approach Note course) can take months of work because you need to play specific notes at a specific place within a measure, and to put it simply, it’s a lot harder.    

So if you you are a beginner or you don’t have time to add modal sequencing into your practice schedule, then just grabbing a few melodic ideas from the course is a great way to find some new melodies quickly.  If you are a beginner you will also begin to see the logic that is used with many melodies and how to change them easily to make new ideas.    

Bruce-Arnold-Guitar-Flutterby-18 sight reading recommendation Applying Rhythm Ideas Common Building Blocks of Melodies

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

Two and Three Note Modal Sequencing

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Two and Three Note Modal Sequencing

Two and Three Note Modal Sequencing

The whole idea of modal sequencing was introduced to me by the great music guru Charlie Banacos. He told me at the outset that understanding two and three note modal sequencing would help me see ALL melodic possibilities, because all melodies can be broken down into groups of 2 and 3 notes. This makes sense from a mathematical point of view- everything in the world around us is built on groups of either two or three (odd or even). He also told me:

  • Since all motifs in a melody can be broken down into groups of two or three notes,  learning all the melodic possibilities of these motifs will help you to compose or improvise within the structure of the melody.
  • Working with the two and three note sequences as a singing assignment is an excellent way to make sure you can sing any melodic possibility.
  • Being able to play the modal sequences on your instrument will prepare you for any melody you might run into and easily improvise around with the melodic fragments.
  • The two and three note modal sequences will help you organize melodies within your mind.
  • These sequences will give you mega chops if learned in all keys.

    Charlie told me bluntly that I needed to play these sequences through 22 modes (which you can find in the Essential Scales Course).  Again, playing these sequences in all keys so that they were firmly ingrained in my mind gave me the dexterity to play them effortlessly when improvising.  In addition he said that adding approach notes to these sequences and altering them rhythmically would give me an incredibly rich resource for composition and improvisation.    

As usual Charlie was right, and I’m still working with modal sequences and finding them to be invaluable 40 years later!  Back in the days of my lessons Charlie wanted me to write out all the sequences by hand.  They number in the thousands so it was quite an undertaking.  Charlie often did this to make sure that a student understood how to permeate a given set of pitches.  Luckily for you I’ve written all of these out in the Two and Three Note Modal Sequencing books in all keys ascending and descending, which will save you a lot of work. (I only found out later that this method of teaching was not something Charlie just “came up with.”  He was a direct descendent of a line of great music teachers going back to the baroque era, and these methods go back that far too.)    

So here’s how this study should be approached.  First you would want to play the 22 scales found in the Essential Scales Course ascending and descending through each scale.  For stringed instruments you need to play the scale from every degree so that you cover the entire fret board.  That makes this assignment huge but that’s what it takes to learn these scales.  After completing these scales in all keys you then start on two note sequencing which took me about 2 years to complete in all keys, and 3 note sequencing which can take a lot longer, as the possible applications are so vast.     So first, for those of you who want a quick fix and expect that you are going to master scales on your instrument in a short period of time –which is kinda what I thought when I stepped into my lessons with Charlie– you will quickly find that you have no idea of what that actually means.  I left my lesson that first day with my tail between my legs, realizing how foolish I’d been and how I had a lifetime of work ahead of me to master this information.    

But even if you don’t set yourself such lofty goals, you still owe it to yourself to understand two and three note sequencing. Even a cursory understanding is invaluable because it’s how music is organized   no matter what the style.  Blues and Metal players use modal sequences as much as Bach or John Coltrane so this is one of the cornerstones of music.    

Bruce-Arnold-Guitar-Flutterby-11 Pitch Class Set Chord Voicings Two and Three Note Modal Sequencing

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

One Minute Lessons Phrasing

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One Minute Lessons Phrasing

One Minute Lessons Phrasing

Phrasing is easily one of the most overlooked aspects of playing and writing music.  Students frequently get bored with what they are playing and wish they could change what they play so that it sounds fresh and more interesting.  Learning how to phrase a melody or harmony in another way will instantly give any of your musical ideas new life.    

Getting Out of A Rut with One Minute Lessons Phrasing

Many students fall into a rut of always playing melodies starting on a specific beat and also ending on a specific beat.  This creates a monotonous, repetitious sound and even if you change the notes you are playing it won’t help because you need to change your phrasing.  You will also find that different styles of music use different types of phrasing so that is another important thing that you learn in this course. Each one minute lesson gives you ideas for how you can change your phrasing through super simple practice techniques.  Here are the subjects covered in the One Minute Lessons for Phrasing.

  • Simple exercises to use to change the way you begin a melodic phrase with just a few minutes of practicing each day.
  • Simple ideas to change how you end a melodic phrase.
  • Simple exercises to use to change the rhythms you use within a melodic phrase.
  • Ideas for rhythmic variation of your melodic phrase.
  • Ideas on how to start a melodic phrase with emphasis on the tools that are at your disposal.
  • Using articulation to give your melodic phrases more depth and sound more musical.
  • Looking at dynamics and how they can make a phrase sound more interesting.
  • Looking at how different styles affect the type of phrase you create.
  • Ideas for changing the melodic direction of any phrase.
  • Changing a melodic phrase with octave variation.
  • Macro phrasing: Learn how to create a solo that goes somewhere and creates excitement.

By following the guidelines within One Minute Lessons for Phrasing you can really change the musicality and excitement created by your melodies whether they be written or improvised.  

Simple But Important Concepts

Most of the concepts presented in the One Minute Lessons for Phrasing are simple and easy to implement, but are overlooked by a lot of musicians. These eleven lessons will really give you a broad overview of the technique involved in expanding your phrasing capabilities which in turn will help you to analyze the phrasing of your own melodies in written or improvised music.

Bruce-Arnold-Guitar-Flutterby-25 Guitarist Bruce Arnold BLOG Logo jazz guitar Bruce-Arnold-Guitar-Flutterby-24 Guitarist Bruce Arnold BLOG Logo music education Guitar Intensive Workshop Guitarist Bruce Arnold BLOG Logo music education ear training course ear training Ear Training For Young People Chord Spellings New Muse-eek.com website Bruce-Arnold-Guitar-Flutterby-24 Guitarist Bruce Arnold BLOG Logo music education Guitar Intensive Workshop Ear Training Encouragement Ear Training Guided Tour Bruce-Arnold-Guitar-Flutterby-16 Modern Reharmonization Approach Notes Practice Jam Tracks Bundle Course Five Backing Track Courses One Minute Lessons Technique One Minute Lessons Phrasing

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

One Minute Lessons Harmony

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One Minute Lessons Harmony

One Minute Lessons Harmony

I’m writing today to explain a bit more about what makes the One Minute Lessons different from other Muse-Eek courses. There is a big difference between working out of a book and taking a one-on-one personal lesson with me. I noticed over the years that sometimes I would have long discussions with my students; times where we stopped playing and would just talk about music. I wanted to distill some of these conversations into an easily digested, informal series. So I created the One Minute Lessons. The title may make it seem like they are not weighty, but in fact they cover important topics that are key to improving your musical expression.

One Minute Lessons Harmony Help By…

The One Minute Lessons Harmony will help you to think outside the box that so many people unconsciously put themselves into.  This overview contains to the point information that doesn’t require you to do any work; just to watch the video and look at some examples. There are many considerations that go into choosing the right harmony for a piece of music, and having an overall understanding of these choices helps you put all harmony in context and clarifies the many options you have when creating or using it. Examples are provided so that you see and/or hear the music created from these various concepts.  

By understanding the bigger picture that The One Minute Lessons Harmony presents, you can make intelligent decisions regarding which type of harmony to use where, and the factors that will make a chord work -or not work- in any given situation. Having this overview of harmony can really help you to understand any chord progressions you encounter, as well as help you when you are composing or improvising. The following eleven topics are covered:

  • Harmonic reharmonization: One of the most common types of reharmonization, by using the 3 ways a dominant chord can resolve with a few added possible additions.
  • Chord tone and tension reharmonization: Using chord tones and available tensions as a means for creating substitutions within harmony.
  • Modal harmony: Looking at the various types of harmony that can be created by using the mode of a chord to create substitutions.
  • Slash chord harmony: Looking at the various types of harmony that can be created by using slash chords.
  • Creating harmony from melody: Looks at the possible scenarios to use melody to create a harmony.
  • Create harmony by the use of pitch class sets which can be used in the simplest type of music to the most complex.
  • Creating harmony from counterpoint gives you a completely different way of thinking about harmonic structures within music
  • Create harmony from intervallic structures opens your mind up to alternate ways of creating harmony that function outside of usual harmonic patterns.
  • Combining multiple harmonic methods to create a musical reharmonization.
  • Harmonic density looks at the style and size of your harmonic structure, which can make an important difference in what sounds good in any specific situation.
  • Harmonic rhythm is discussed which is the key to making any of the aforementioned ideas work within music.

Get yourself out of a limited mindset and see that you can create harmonically rich situations by having just a basic understanding of the ideas presented in the One Minute Lessons for Harmony.

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Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!

One Minute Lessons Technique

 
 
 
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The One Minute Lessons Technique

The One Minute Lessons Technique

The One Minute Lessons Technique Course gives a music student important information they need to know about many of the aspects of playing an instrument that relate to technical skills.  While you might think these One Minute Lessons just give you some technical exercises (which they do) the lesson is way more than that. 

Nine Lessons in the One Minute Lessons Technique Course

There are nine sections to the One Minute Lessons Technique Course. Each lesson teaches you about a subject that is related to technique through a one minute video, plus PDFs to explain further and/or to give you exercises to help implement the idea presented. Below is a list of the ideas presented in the nine One Minute Lessons, and I hope you will see what makes them special.

Subjects of the Nine One Minute Lessons Technique

  • Exercise to lighten touch on any instrument.
  • Understanding how your physical interface with your instrument affects your speed and accuracy.
  • Understanding Long Line Rhythm and how to use a four note melodic pattern found in a song in 96 ways.
  • Understanding technique, and exercises to correct it when it is bad.
  • How to practice, and scrutinize your habits to see if they are holding you back from your goals.
  • A Discussion of Warm Ups and how they fit into your overall practice regimen.
  • How hearing what you play affects your technique and your musical ability.
  • How the style you want to play should affect your practicing.
  • Guidelines on how a good melody is formed and discussion of the factors that make a melody sound musical.

Three One Minute Lesson Courses

There are three One Minute Lesson courses. One on Technique, Phrasing and Harmony in which you learn about things that are mostly not found in other courses in the Muse Eek Publishing catalog.  As I have pointed out before, these are subjects that often come up in conversation during private lessons, and they help a student understand the bigger picture or discuss an important aspect of music that a student might not understand or is overlooking in their development.

Bruce-Arnold-Guitar-Flutterby-25 Guitarist Bruce Arnold BLOG Logo jazz guitar Bruce-Arnold-Guitar-Flutterby-24 Guitarist Bruce Arnold BLOG Logo music education Guitar Intensive Workshop Guitarist Bruce Arnold BLOG Logo music education ear training course ear training Ear Training For Young People Chord Spellings New Muse-eek.com website Bruce-Arnold-Guitar-Flutterby-24 Guitarist Bruce Arnold BLOG Logo music education Guitar Intensive Workshop Ear Training Encouragement Ear Training Guided Tour Bruce-Arnold-Guitar-Flutterby-16 Modern Reharmonization Approach Notes Practice Jam Tracks Bundle Course Five Backing Track Courses One Minute Lessons Technique

Bruce Arnold Music Education Genealogy Chart

You might enjoy checking out the “Music Education Genealogy Chart” located on my artist’s site. You will clearly see the historic progression of pedagogy that is the basis for Muse Eek Publishing Products. Great musicians throughout history have been studying the ideas presented by Muse-eek.com which derives its content from a a lineage that stretches back to Scarlatti!