Exercise of the day 006: Connecting Arpeggios

Here we go, the full 4 note arpeggio for a minor ii-V-i in Cm. As I said before, Fm6 is the same as Dm7b5. It's just an inversion. However, it's a whole other way of thinking about melodies if you're thinking Fm instead of Ddim. The exercise is the same as yesterday only now we have a note...

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Exercise of the day 005: Connecting Triads

Today we're gonna connect some triads. We'll take a iv - V - i progression in C minor, so Fm - G - Cm. One bar for the Fm and G, two bars for the Cm. We're gonna start each bar with an anticipated 8th note for rhythmic interest. The idea is simple: Keep going in one direction and change...

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Exercise of the day 004: Triad Pairs

To close off the week we're gonna do some triad pairs. This is a little continuation on yesterday's exercise, because we will be alternating a Dm triad and an Em triad. We ascend in one position, shift over and then descend, shift, ascend, shift, descend, etc. Simple. I'd advise...

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Exercise of the day 003: Minor 6 Drop 2 Scale

In this exercise we're gonna practice our drop 2 voicings and we're gonna do it by playing it in a scalewise fashion. I've found this excercise to be really useful when I first got it. I wrote this in Dm6 but you can pick whatever key you want (I would advise to take one key you know...

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Exercise of the day 002

Diatonic 7th chords with quintuplet accent displacement in B Major. This exercise is all about rhythmic awareness. We want to be in control in our timekeeping and be solid and these kinds of exercises are great for that. You should try and really exaggerate the difference between...

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Exercise of the day 001

All right, In this exercise, we move through the diatonic triads of Ab major and we preceed every triad with its dominant: Ab (I) F7 (V7/ii) Bbm (ii) G7 (V7/iii) Cm (iii) Ab7 (V7/IV) Db (IV) Bb7 (V7/V) Eb (V) C7 (V7/vi) Fm (vi) Bb7 (V7/V) Eb/G* (V6 -> first inversion) ...

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