I’m thankful for a fulfilling musical life made easy by the ability to listen even though still now, chords tag along with those ever-present tunes in my head. Liza Minelli, Tom Jones, Shirley Bassey and many more. Among those were Frank Sinatra, Sammy Davis, Natalie Cole, The same ears served me well playing in the trombone section of many local and visiting artists. Good ears for harmonic development was an integral part in being offered the arranging job for all 3 stage productions of “The Boy From OZ”, other musicals, advertising commercials and films. Among my students I had the privilege of teaching James Morrison and Adrian Mears. This then led to becoming a staff arranger at Channel 9 Sydney for almost 20 years and teaching trombone and arranging at the Jazz Department of the Conservatorium in Sydney for the same length of time.
My first love is jazz but I soon discovered that to earn a living I had to broaden my knowledge of musical styles. To this day I’m self-taught except for a summer term at Berklee College in Boston. Eventually music won the battle when I discovered my flair for writing music arrangements.
TONESPACE WITH REASON 9.5 CODE
Intrusive musical thoughts interrupted the focus on my first job as a computer programmer on a regular basis and this trend continued after my emigration to Australia where sketches of tunes were shuffled quickly under pages of IBM code just before getting caught by the boss entering my office. This has been going on ever since I started dabbling in music through my childhood and learning to play the trombone in the local brass band back in Switzerland. Of course it doesn’t mean that I’m stuck with what comes out of my thoughts and I do have the freedom to experiment and change my harmonies if I so desire. It really would be nice to hear a melodic line by itself once in a while but that’s near impossible for me.
That’s great you might say but it’s both very convenient and annoying at the same time. When I hear a melody in my head, I always hear chords along with it. DOMINANT VERSIONS OF II, III & VI CHORDS 11.1. What Are The Modes Between The Modes 10.2. Diminished or Half-Diminished sus4 Chords?ġ0.1. Notation of Dim Blues Scale Chords 8.3.1.
TONESPACE WITH REASON 9.5 HOW TO
How To Build Dim Blues Scale Chords 8.2.1.
Insight into The Diminished Blues Scale 8.2. THE CHORDS OF THE DIMINISHED BLUES SCALE 8.1. Notation of Chords From The MM Scale 7.4. How To Build Melodic Minor Scale Chords 7.3. CHORDS DERIVED FROM THE MELODIC MINOR SCALE 7.1. Notation of Chords From The WT Scale 6.4. How To Build Whole Tone Scale Chords 6.3. CHORDS ORIGINATING FROM THE WHOLE TONE SCALE 6.1. Notation of Chords with Added Tensionsĥ.4.3. A Rebellious Look At The Circle of Fifths 5.4. The Major Scale 4-Note Chord Diagram 5.3.6. The 3 Chord Groups of the Major Scale 5.3.5. CHORDS ORIGINATING FROM THE MAJOR SCALE 5.1. HOW TO ACCESS AND PLAY THE AUDIO TRACKS 4. Table of Contents MUSIC THEORY ONLINE About The Authorġ. Easy and clear stepwise format From simple 3-note shapes to 8-note “monsters”.īy George Brodbeck Copyright © 2015 by George Brodbeck All tuition images and audio tracks WHAT ARE CHORDS Learn the inside secrets of chords What they are and how to create them.
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