Podcast appearances and mentions of ab major

Pro tip: please watch the short video version of this post that I link to www.guitarsuccess4u.com/CapoReality. It will give you a much clearer grasp of what I'm sharing here.Abbreviated transcript and table included below…If you play the guitar, you probably use a capo sometimes. But is your capo holding you hostage? Do you sometimes get confused about which key you're actually in when you use it? No more!We as guitarists make use of a variety of tools, but perhaps one of the most common is the capotasto, better known as the capo. The capo gets its name from a phrase that means “head tie,” which implies that it's being tied to the guitar near the headstock.But when we put a capo on our guitar, what is happening, exactly? We're shortening the length of the strings. This can allow us to play in some keys with open chord shapes to access actual chords that would normally all be bar chords. Allow me to demonstrate (see the video for a clearer picture of this.) The key of Ab Major, for example, has zero open chords, so they all need to have 100% fretted notes. The chords are: Ab Major, Bb minor, C minor, Db Major, Eb Major, F minor, G diminished, and we can come back around to Ab Major.In the video, I play all of those chords again, but with my capo on fret 1. The chords are the same, but many of them are much easier to play, because I use the shapes: G Major, A minor, B minor, C Major, D Major, E minor, F sharp diminished, and ending on G Major.But let's not confuse shapes with chords.Because unless we're only collaborating with a drummer or a percussionist, there are harmonic consequences to everything we do with the capo. Do you believe it?If you're collaborating with a piano player, a synth player, a bass player, another guitar player, a vocalist, someone who plays strings or woodwinds, or any type of harmonic or melodic instrument or voice, they're going to be playing or singing in a specific key.And if you are the guitarist who's leading that band, it's super important to know which key you're all in.Here are some helpful tips so you can be sure of what's going on. Memorize marker pointsFirst, memorize the bottom 3 strings, strings 6, 5 and 4. I walk you through these markers in the video, but you're welcome to reference the diagram I'm including with this article.There's more, but this can give us plenty to work with here.Which key are we in?Our first approach is to place the capo and discover which keys we end up playing in when we play shapes.Let's say I place the capo on the 3rd fret. If I strum shapes around the tonal center of E, with the open 6th string for the low root, which key am I in? G. If I strum A shapes, which key am I in? C. If I strum D shapes, which key am I in? F.Why? Because the “open” notes at our new “nut” with the capo are G, C, and F. Right? Did you know all of those? This works best with your guitar and capo in hand.Which key do we want to play in?Let's try the opposite approach with placing the capo for keys we want to play in.Now, let's say I want to play in Eb Major with a piano player, by leveraging the capo. For a moment, let's temporarily call that the key of D#. It's a theoretical key, I know, but go with me. If I place the capo on fret 1 and play a D shape, it sounds a D#, better known as Eb. That open 4th string is our low root on Eb.If you want to think in the key of D, this can work for you, but remember, you're accountable for actually playing chords in the keys the capo has given you access to. So if the capo is on fret 1, and we play D, G and A shapes, we've actually achieved Eb, Ab and Bb chords. Right?Starting with chords that have open roots like E, A, and D can be pretty attainable, because the capo at the new “nut” easily tells us what those notes are, without fretting above it.But what about chords like G and C that do have a fretted root? Don't worry, I got you.Play an open G chord for a moment. That root on the 3rd fret is a minor 3rd above the nut.Let's just make a new “nut” with the capo! Let's say we want to play in the key of B. Well, a moment ago, we said that B on the 6th string is on fret 7. So, let's fret the G shape that's got that 7th fret B as the root, and place our capo down a minor 3rd – a distance of 3 frets, on the 4th fret. With the capo on the 4th fret, using G shapes, we've accessed the key of B.One more. Play an open C chord, the root for which is on the 3rd fret of the 5th string. It's a minor 3rd above the open A note at the nut. Let's make a new “nut” with our capo for the key of F. Where is F on the 5th string? It's all the way up at fret 8, just above the 7th fret E we talked about a moment ago. So, we can start with a C shape with our root on the 8th fret for F, and go down 3 frets to the 5th fret and place the capo there. We can now play C shapes, with capo 5, in the key of F.This process works for any Major key, minor key, or even modes, but we have to know the real key we're in, and at least some of the chords the capo is helping us play. Our charts, especially the ones we print up for the band, have to reflect this reality. Otherwise, we'll have an alternate reality that leads to confusion, or at the very least, a comedy of errors.I hope this was helpful, and I look forward to next time!Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

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Welcome to JazzPianoSkills; it's time to discover, learn, and play Jazz Piano!Every JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, play a Key of Ab Major Melodic Workout. In this Jazz Piano Lesson you will:DiscoverA Key of Ab Major Melodic WorkoutLearnHow to "think" within the Key of Ab Major, MelodicallyPlayThe Modes of the Key of Ab Major plus Inverted Melodic Arpeggios from various entry points (Root, 3rd, 5th, 7th).ANDYou are going to play Melodic lines using various 8th Note Rhythmic Configurations played over the II-V-I Progression.For maximum musical growth, be sure to use the Jazz Piano Podcast Packets for this Jazz Piano Lesson. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while doing a Key of Ab Major Melodic Workout.Open Podcast PacketsIllustrations(detailed graphics of the jazz piano skill)Lead Sheets(beautifully notated music lead sheets)Play Alongs(ensemble assistance and practice tips)Educational SupportCommunity ForumSpeakPipeEpisode OutlineIntroductionDiscover, Learn, PlayInvite to Join JazzPianoSkillsRationaleExploration of Jazz Piano SkillsConclusionClosing CommentsVisit JazzPianoSkills for more educational resources that include a sequential curriculum with comprehensive Jazz Piano Courses, private and group online Jazz Piano Classes, a private jazz piano community hosting a variety of Jazz Piano Forums, an interactive Jazz Fake Book, plus unlimited professional educational jazz piano support.If you wish to support JazzPianoSkills with a donation you can do so easily through the JazzPianoSkills Paypal Account.Thank you for being a JazzPianoSkills listener. It is my pleasure to help you discover, learn, and play jazz piano!Support the show

Welcome to JazzPianoSkills; it's time to discover, learn, and play Jazz Piano!Every JazzPianoSkills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, and play a Key of Eb Major Melodic Workout. In this Jazz Piano Lesson, you will:DiscoverA Key of Ab Major Harmonic WorkoutLearnHow to "think" within the Key of Ab Major, HarmonicallyPlayBlock Chords, Traditional and Contemporary Shells, Two-Handed Voicings using common harmonic motion AND various Rhythmic Comping PatternsFor maximum musical growth, use the Jazz Piano Podcast Packets for this Jazz Piano Lesson. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while doing a Key of Ab Major Harmonic Workout.Open Podcast PacketsIllustrations(detailed graphics of the jazz piano skill)Lead Sheets(beautifully notated music lead sheets)Play Alongs(ensemble assistance and practice tips)Educational SupportCommunity ForumSpeakPipeEpisode OutlineIntroductionDiscover, Learn, PlayInvite to Join JazzPianoSkillsRationaleExploration of Jazz Piano SkillsConclusionClosing CommentsVisit JazzPianoSkills for more educational resources, including a sequential curriculum with interactive Jazz Piano Courses, private and group online Jazz Piano Classes, and a private jazz piano community, Jazz Piano Forums.If you wish to support JazzPianoSkills with a donation, you can do so easily through the JazzPianoSkills Paypal Account.Thank you for being a JazzPianoSkills listener. I am pleased to help you discover, learn, and play jazz piano!Support the show

This is one of Brahms' most famous melodies; it captures perfectly the elegant dancing of the Viennese ballrooms in a piano piece. Video: https://youtu.be/6sYxmVYHD30

Hello and welcome to The Stress Factor Drum and Bass Podcast number 272. We have DJ Tribo back with a wicked studio mix for the month of July 2021.Tribo has a nice summertime mix here that features 28 tracks and is 104 minutes long. This episode features track, remixes and labels Unknown Artist, Celsius Recordings, Minos, Fokuz Recordings, Response, Metalheadz, Linguistics, Shogun Audio, Ben Soundscape, Dispatch Recordings, B-complex, L-Side, Hospital Records, Physical Illusion, Electrosoul System, Intelligent Recordings, Pliskin, Break, Symmetry Recordings, Pola and Bryson, Ruth Royall, Netsky, Flava D, Q Project, Myth, Ab Major, Elixr, Influenza Media, Jazzatron, Code Recordings, A K A, Ekou Recordings, Bou, Gossip, Lenzman, Jubei, The North Quarter, DJ Hybrid, Mrs Magoo, Deep In The Jungle Records, Blame, DJ Marky, Enei, Critical Music, Dub Elements, Critical Music, Kasra, ThirtyOne Recordings, Stimpy, Riya, and Monrroe. Tracklist 01. Unknown Artist - Need To Feel Loved (DNB Remix) [Celsius Recordings] 02. Minos - Echoes (Original Mix) [Fokuz Recordings] 03. Response - Betrayal (Original Mix) [Metalheadz] 04. Linguistics - Think Too Much (Extended Mix) [Shogun Audio] 05. Ben Soundscape - Desert Swim (Original Mix) [Dispatch Recordings] 06. B-complex - Beautiful Lies (L-Side Remix) [Hospital Records] 07. Physical Illusion - Pensive Mood (Electrosoul System Remix) [Intelligent Recordings] 08. Response, Pliskin - The Pusher (Original Mix) [Metalheadz] 09. Break - Never Say Never (Original Mix) [Symmetry Recordings] 10. Pola and Bryson, Ruth Royall - Friend (Original Mix) [Shogun Audio] 11. Physical Illusion - Rock climber (Original Mix) [Intelligent Recordings] 12. Netsky - Memory Lane (Flava D Remix) [Hospital Records] 13. Ben Soundscape - Instances (Original Mix) [Dispatch Recordings] 14. Q Project, Myth - Demonz (Original Mix) [Ab Major] 15. Elixr - Lost In Thought (Original Mix) [Influenza Media] 16. Elixr - Wanted You To Know (Original Mix) [Influenza Media] 17. Jazzatron - SG (Original Mix) [Code Recordings] 18. A K A - Surrender (Original Mix) [Ekou Recordings] 19. Bou - Cous Cous (Instrumental) [Gossip] 20. Lenzman - Down for Whatever (Jubei Remix) [The North Quarter] 21. DJ Hybrid, Mrs Magoo - Back To 96 (Original Mix) [Deep In The Jungle Records] 22. Blame - Hindsight (DJ Marky Remix) [Hospital Records] 23. Enei - Dirty (Original Mix) [Critical Music] 24. Dub Elements - Dope (VIP) [Critical Music] 25. Kasra - Die 4 It (Original Mix) [ThirtyOne Recordings] 26. Stimpy - I and I (Original Mix) [Celsius Recordings] 27. A K A - Timelines (Original Mix) [Ekou Recordings] 28. Riya, Monrroe - Closer (Original Mix) [Shogun Audio]

This week, solo piano is on the repertoire, as Carl looks at the music revolutionary, Franz Liszt.

10 11 2020 - Trois Nouvelles Études, #2 In Ab Major by Snowmass Chapel

- A Major four note chords - Ab Major four note chords  Episode Image Link - https://harmonyimprovisati.wixsite.com/harmonyimprov/downloads YouTube Channel - https://www.youtube.com/user/tpfbb Podcast Link - https://open.spotify.com/show/3s7KQqOZlrbk0vZkoe4buC?si=jk14dlxoQJ-V4jhpNeU6sA Website - https://harmonyimprovisati.wixsite.com/harmonyimprov

Pianist Henrik Kilhamn explains this Chopin Nocturne in A flat major, where Chopin fuses the Nocturne style with a crazy waltz middle section. The initial melody is at first comfortable and reassuring, but after the wlatz section it returns in fortissimo and apassionato! Performance: 13:05

Started from the bottom, now we here. Maansi and Garret tell their life stories to set the stage for the rest of the podcast.Piano sample at 1:35 is Ballade No. 3 in Ab Major, Op. 47 (Frederic Chopin), performed by our very own Maansi Desai.Thanks as always to Riohso for our intro and outro music: https://soundcloud.com/riohsoFollow us on Twitter: https://twitter.com/brainwaves_castGot questions? Send us an email at brainwaves.neurocomm [at] gmail.com

Walker Farrell Is part of the Make Noise crew. When he was about 17 Walker composed a piano piece that was based around a chord he had "discovered". This particular chord, when broken out and arpeggiated, had a feeling that was both longing and uplifting simultaneously, a never-ending cadence, an equal temperament Shepard scale. It turned out to be minor-flat-6, though the phrasing was as important as the content. In C it was spelled C, G, Gb, Eb from bottom to top. Two perfect fifths separated by a minor second. It's also notable as the core of the Rachmaninoff Prelude in c# minor, which was a favorite of Walker’s at that time. Repeated, transposed, or reiterated in successively higher octaves, it had, for him, a sense of endless reaching. (It could also be spelled as an Ab Major 7th chord, but he always felt the C as the root.)  In this decade Walker has been musically more interested in structural grounding than in goal-oriented results. He makes music without specific results in mind, in two branches: one concerned with the creation of structures within which to improvise, and the other concerned with generative music (music that creates itself). "Green Fiber" is one of his proudest examples of the latter. It is realized on a modular synthesizer, and based on three ideas:  1. The notion that any given "state" of the system should follow from the previous state, and should lay the grounds for the next state.  2. The oxymoronic or perhaps redundant idea of processing an additive oscillator with a frequency-specific resonator; this leads to occasional periods of great intensity when particular frequencies are emphasized twice over.   3. The above-mentioned chord and the feelings it still inspires in him. The sense of "always ending and always beginning" seems appropriate for generative music that cannot have a larger structure imposed upon it.  The piece is played without any input from the performer. In other words the system is the performer. The recording was made without being monitored by a human. On 6/2/17 Walker released a new EP of improvised computer music. Please check it out!

Ab Major scale for double bass played 5 times at 160 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 160 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 155 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 155 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 150 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 150 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 145 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 145 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 140 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 140 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 135 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 135 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 130 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 130 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 125 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 125 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 120 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 120 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 115 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 115 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 110 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 110 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 105 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 105 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 100 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 100 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 95 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 95 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 90 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 90 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 85 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 85 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 80 beats per minute with dotted rhythm for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 80 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major scale for double bass played 5 times at 40 beats per minute for 3 octaves with cello playing an octave higher.

Ab Major Scale played 5 times at 220 beats per minute.

Ab Major Scale played 5 times at 200 beats per minute.

Ab Major Scale played 5 times at 160 beats per minute.

Ab Major Scale played 5 times at 120 beats per minute.