Tip Of The Day

See yesterday’s Tip! With the exception of suspended chords and major or minor 6 chords, all other non-extended chords consist of a root (1), 3rd, 5th, and 7th. Consider the following table: [ Root=1; M=Major; m=Minor; b=lower ½ step; #=raise ½ step; 7= 7th lowered ½ step]

 

             Root  M3  5  M7            Major 7 (Chord)   

             Root  M3  5  7              7  (or dominant 7 Chord)

             Root  m3  5  M7            minor Major 7 

             Root  m3  5  7               minor 7

             Root  M3  #5  M7          augmented Major 7

             Root  M3  #5  7             augmented 7

             Root  m3  b5  7             minor 7 flat 5  or better- half diminished

             Root  m3  b5 bb7         fully diminished 7

             ETC

Tip Of The Day

The theory tips presented thus far are objective by nature, that is they haven’t required a great deal of remedial knowledge prior to practical application. That may not always be the case in the future. Quite soon these Tips will cover a number of scale types (if you are unfamiliar with major and minor pentatonic scales as well as the Blues scale, Google them now), but first make certain you have a clear understanding of these rules describing chord qualities:  All triads are assumed to be Major unless the chord symbol suggests otherwise- minor, suspended, augmented, diminished, or in rare cases the M3rd is lowered twice known as a Retardation (resulting in a major 2nd ). The 7th is always lowered ½ step unless the chord symbol specifies MAJOR 7, thus the term ’Major’ refers only to the 7th, because the tonality of the triad is again assumed Major unless otherwise specified. Get It??? So then, the term Minor refers only to the 3rd, because the triad ONCE AGAIN is assumed Major unless specified minor, and the 7th is always lowered unless specified Major. Read the above over and over until you get it. It’s all there and it’s that simple. Tomorrow’s tip will finish the remaining rules describing all qualities of 1-3-5-7.

Tip Of The Day

Tip of the Month-  Though it may take years to develop a strong reputation, it can take a single second to destroy one. Be very careful how you use social media. Once you become locally high profile (and before) avoid confrontational issues on Face Book etc. On the other hand, as an artist it is your community responsibility to use your voice for the common good. Know the difference between helping and venting. Be a responsible citizen.

Tip Of The Day

 Any musician worth his salt knows the stage gets hot and outdoor gigs can be brutal. Never count on the crew to think of your personal comfort. I always pack a fan, and a great choice is a Stanley cylinder shop fan. It’s quiet, moves massive air, and has two AC outlets. I never perform in direct sunlight and/or without cover. Make that point clear to the ’contact’ before you arrive on the gig.

Tip Of The Day

THEORY TIP: [ The following entry is an exploratory technique reserved typically for advancing students of jazz theory/improv at the university level. Nevertheless, go for it! Keep in mind the technique is a rather unorthodox approach to improvising a bop solo over complicated chord changes. Use your iRealPro app]... While learning to navigate the altered extensions you likely noticed many of the ‘cool’ notes exist a whole step above the basic chord tones in question. Start by simply playing a whole step above each chord quality (if the chord is FM7, play GM7). Certainly you will encounter plenty of wrong notes, but also you will be amazed by the maturity of the language. Without applying any of your theory knowledge, and of course as an exercise only, simply adjust ‘out’ the wrong notes. Form an analysis of what you had to do to make corrections. You will learn tons and have fun doing so. Try it!

Tip Of The Day

Sticky fingers resulting from outdoor gigs and/or some HVAC systems can be a show killer, particularly with some brands of coated strings. Wash your hands with a liberal dose of soap and very hot water followed by a lengthy session with a hand dryer and lots of paper towels. Once you remove all the moister from your hands, use an alcohol based hand sanitizer (which you always carry in your pocket for evaporation purposes). Always wash your hands in this manner just prior to walking on stage; otherwise, don’t wash them at all. Wet hands will quickly turn sticky.

Tip Of The Day

Acoustics! Did you know that the wavelength of the fundamental ‘E’ on your bass (which sounds an octave lower than written) is an astounding 27 feet in length from crest to crest? This helps explain why the brain perceives the higher frequencies sooner than the lower ones. The great Ray Brown was keenly aware of this fact. Though Ray was always the first in the band to get to the down beat, he certainly never pushed the tempo (think about it). No wonder Ray Brown remains the all time master of groove. Note that a great ‘swing’ groove requires each subdivision of a beat be divided into 3 subsections: 1) bass slightly on ‘top’ of the beat, 2) drums ‘on’ the beat, 3) melody slightly ‘behind’ the beat. This is why swing ‘swings’! These rules carry over to the critical condition of ANY groove: 1) bass never behind the beat, 2) drums never EVER behind the beat, 3) melody never ahead of the beat. Note: some drummers think it’s cool to ‘Lay back’. WRONG! Horns and vocals lay back all day- the further the better. Never the rhythm section! Horns and vocals lay back AGAINST the rhythm section. See Ed Friedland’s, Febuary 18, 2014 article- ‘Tech Bench: Sound Good Live’ in Bass Player.

Tip Of The Day

When working out a difficult selection during practice, first break it down in to sections and agree on fingerings (both LH and RH). Once comfortable with all sections, slowly start putting them together to a time reference. The most difficult section is your terminal tempo. In other words rehearse NOTHING faster than you can perform the most problematic portion. Then gradually increase to tempo with all sections in tact; otherwise, your ‘problem’ section will forever remain- ‘a problem section’.

Tip Of The Day

The most difficult skill you will ever master is hearing every note from every musician with whom you are performing. Start with your drummer. If he/she is accomplished, focus more on the drums than yourself. Though not easy at first, continue to concentrate. When you get there if only for a moment, you will find it impossible to misplace an articulation. It’s an incredible feeling.

Tip Of The Day

In reference to yesterday’s tip the assumption is made that you already know to alternate fingers (RH) 1 to 2 or 2 to 1, and NEVER strike the same finger twice in a row. The ‘drop’ (using the same finger to cross strings in a descending passage) is acceptable in many cases, but not advisable. For soaring technique always alternate between first and second fingers and vise versa. For an example of unbelievable RH technique, YouTube the great classical guitarists, Andres Segovia!

Tip Of The Day

The ascending 4th is the most likely perpetrator of technical glitch. Chances are if you are having difficulty with a particular passage, the right hand is crossing up to the next string. Though there are a number of great drills to address the matter, start here: alternating fingers 1 and 2 in the right hand (RH), simply play E A D G D A E A D G D A etc. Duh!! The trick is after working 1-2-1-2-1-2 etc. (RH), reverse to 2-1-2-1-2-1-2-1. Next, incorporate the LH alternating random pitches. Drill to a time reference gaining in tempo. This is merely a starting point. Future drills become quite complicated. Watch for the in the blog, or contact the website.

Tip Of The Day

If you find teaching yourself yesterday's modes difficult, the reason of course, are the fingerings in the left hand. Just know that each of the seven modes in the Major scale can be performed (individually) within a four finger box. Much more to come about the four finger box (or block) in later blogs.