Learn about the Major pentatonic scale, and its cousin, the “Relative Minor” pentatonic scale (a video lesson). The relationship between any major scale (or key) and its relative minor scale or key is explained here as well, in terms of traditional music theory.
BLUES ALERT — PLEASE SHARE THIS!
Coupon Expires March 31, 2018: Here’s a handy dandy discount coupon for my “A Study in Blues Piano” on Udemy: Lifetime access for just $12.99. (List price is $29.99.)
or use coupon code 88KENT when purchasing.
Please share this with your musical friends!
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If you miss the coupon window, the course can be accessed using the link below. Sometimes Udemy sets their own temporary discounts, so you could get lucky!
Here’s a slow-motion demonstration of the notes to Beethoven’s Für Elise. Shown here is the most well-known first section of the piece.
This is not a performance video. Meaning, you can’t take cues from this video on the phrasing, dynamics, tempo, pedaling, etc. However, many people find it useful to have a reference like this, especially those who play by ear, and are simply trying to acquire the notes.
Ain’t life grand? As in grand piano?
Here’s a follow up to my recent post about “Fourth Chords.” I made this second video to give more insight regarding how “fourth chord” shapes can be superimposed over various roots, to create refreshing voicings for standard chord types, such as major, minor and dominant seventh chords. The goal here is to focus on the practical side of putting these shapes into use!
Video: Fourth Chords, Part Two
“Fourth chords” are chords built as a “stack of fourths,” rather than as a “stack of thirds.”An example of a “stack of fourths” would be: D, G, C, and F, where D is the lowest pitch, and the rest make up a series of fourths above that.
The greatest thing about these stacks is that any given stack can be superimposed above multiple roots, to create a variety of voicings for various chord types.
Using the stack mentioned above as an example:
A “Dmin7” chord using the stack D, G, C, and F, results in a nice open-sounding voicing, with an added 11th (the “G” note is the 11th).
D, G, C and F also sounds great over a B-flat root, creating a “Bb69” sound! That is, a B-flat major chord, with an added 6th and 9th. (G is the 6th, and C is the 9th).
And so on…my video here explains this in depth. (Check back soon for Part Two, with more insights on this.)
Hey Blues people! Wassup from the OG (Old Guy). Let me show you this nice 12-bar opening, to get your jam started. I’ve also included something to get your improv going after the intro.