Podcasts about Chromaticism

I was recently asked to explain chromaticism, so I thought I'd give it a try here. Bach's fugue based on a theme by Tomaso Albinoni in B minor, BWVs 951, and 951a: the subject itself contains a chromatic descent (B, A#, A, G#, G, F#) and though Albinoni himself wrote it, it was Bach who brought the ideas behind such chromaticism to the next level.  HERE is the recording which I was not able to credit. If you know whose recording this is, please write me, I'll fix it! and HERE is the version (BWV 951, not BWV951a) which I played on the MIDI harpsichord, highlighting the chromatic lines on one of my favorite youtube channels.  As always, thank you for your support, your feedback, your passion! -es Support us: https://www.patreon.com/wtfbach https://www.paypal.me/wtfbach https://venmo.com/wtfbach https://cash.app/$wtfbach   Ideas? Kvetches? Write us: bach (at) wtfbach (dot) com

Polymodal "Chromaticism" How it works, What it is, How to use it, and what makes it unique for improvising and composing. Also, the difference between poly modal and polymodal Chromaticism explained. Examples, with superimposiiton and the alchemy of new chords from 2 separate modes. etc. --- Send in a voice message: https://anchor.fm/clifford-martin/message

Grant Sanderson is a composer and pianist. He discusses his work with contiguities and chromaticism, and how they can be used to create a sense of elitism.

Continuing our discussion from episode 106, we will find yet more ways to alter chords. We will listen to non-dominant, extended tertian chords. We will marvel at the common tone diminished chord. We will revisit linear chromaticism and reckon with the appoggiatura chord. Finally, we will ponder a few good simultaneities!

Join Matt and Josiah as they dive into The Beach Boys' use of chromaticism and modulation throughout their 50 year career. They discuss The Beach Boys' iconic California sound, and being in a state of "Kokomo." Find out the story behind the name Kokomo and more in this week's episode of "Take Note."

Tristan und Isolde (Tristan and Isolde), WWV 90, is an opera in three acts by Richard Wagner to a German libretto by the composer, based largely on the 12th-century romance Tristan and Iseult by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hoftheater und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the work, not as an opera, but called it "eine Handlung" (literally a drama, a plot, or an action).Purchase the music (without talk) at:Wagner: Tristan und Isolde (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

 Direct DownloadPart eight of a nine-week study on chord progressions takes the gloves off and wrestles with chromaticism, a technique that brings chromatic elements into diatonic composition and arrangement. The episode covers secondary dominants, chromatic mediants and a wee bit on voice leading with chromatic elements. Bing Futch is endorsed by Folkcraft Instruments, V-Picks and Zither Stands.Enjoy "Dulcimerica"? Consider supporting the program by becoming a patron!

Title by Elizabeth Blackwell   With special guest Geraldine Quinn! Find her here: https://geraldinequinn.bandcamp.com/ http://www.geraldinequinn.com/ @gerrixinald   Elizabeth is famous everywhere for singing in every key, sometimes at the same time. However, every accompanist Elizabeth has ever worked with has died in mysterious circumstances. Who could be responsible for such heinous acts of musical depravity?   Song List: "Sing to Death Your Ears", "Trying to Figure Out the Next Chord", "The Key of F, but C is the Key", "Beast of Music", "Be Brave", "Chromaticism", "A Little Bit of Change is A-OK"   Cast: Emmet Nichols, Izaak Lim, Greg Lavell on keys and special guest Geraldine Quinn Teched by Alexia Brinsley Edited by Morgan Phillips

Join Dan as he uses ALL 12 notes in the equal-tempered chromatic scale! ---------- Follow me on social media EVERYWHERE @OvertoneWarpzone! Have comments/suggestions/ideas for a song or musical concept? Find me at overtonewarpzone.com!

Description Carlo Gesualdo was both a vicious murderer and brilliant composer—the two going hand in hand. Take a minute to get the scoop!Fun FactThere have been no fewer than eleven operatic works on the subject of Gesualdo's life, with Alfred Schnittke (1934-1998) premiering his Gesualdo in 1993. About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)

Want to make your own bebop style lines? Chromaticism and devices such as enclosures can help you achieve this while also providing you with smooth voice leading.

What makes the bebop scale worth learning about? It's just like other scales we know but with an added half step, right? Yes, but that added chromatic note gives us a peek into one aspect of what makes bebop have the sound it does. By learning this scale and moving where the half step occurs around, we can begin to use passing notes to make our lines more interesting and fluid. 

This Jazz Piano Lesson will help you discover, learn, and play Major Chromaticism, Pt. 1, to develop jazz improvisation vocabulary. Be sure to Download the Podcast Guide for this podcast that musically notates 12 jazz improvisation motifs using four different motion patterns—an invaluable educational tool to reference while studying and practicing this iconic progression and voicings. Download the Podcast Guide.You can listen to this Podcast Episode at JazzPianoSkills and have access to the SpeakPipe Widget that allows you to speak immediately and directly to Dr. Bob Lawrence. Ask your questions, get answers, and interact one-on-one with Bob.PODCAST LESSON OUTLINE Chromatic ScaleFingeringGoogle Search (plenty of good fingering charts)1-3-1-3-1-2-3-1-3-1-3-1-2C Major 7Root to 3rd: 1-3-1-3-43rd to 5th: 3-1-2-35th to 7th: 1-3-1-3-4Ascending/Ascending MotionPattern 1 (Demo 1)Chromaticism: Root up to minor 3rdMajor Arpeggio: 3rd to Root (1st Inversion)Pattern 2 (Demo 2)Chromaticism: 3rd up to 5thMajor Arpeggio: Root up to 5th (Root Position)Pattern 3 (Demo 3)Chromaticism: 5th up to minor 7thMajor Arpeggio: Root up to 5th (Root Position)Ascending/Descending MotionPattern 1 (Demo 4)Chromaticism: Root up to minor 3rdMajor Arpeggio: 3rd down to 5th (3rd Inversion)Pattern 2 (Demo 5)Chromaticism: 3rd up to 5thMajor Arpeggio: 3rd down to 5th (2nd Inversion)Pattern 3 (Demo 6)Chromaticism: 5th up to minor 7thMajor Arpeggio: 7th down to 3rd (Major Fragment)Descending/Descending MotionPattern 1 (Demo 7)Chromaticism: Root down to SixthMajor Arpeggio: 5th to Root (Root Position)Pattern 2 (Demo 8)Chromaticism: 3rd down to b2Major Arpeggio: Root to 3rd (1st inversion)Pattern 3 (Demo 9)Chromaticism: 5th down to Major 3rdMajor Arpeggio: Root down to 3rd (1st Inversion)Descending/Ascending MotionPattern 1 (Demo 10)Chromaticism: Root down to 6thMajor Arpeggio: Root up to 5th (Root Position)Pattern 2 (Demo 11)Chromaticism: 3rd down to b2Major Arpeggio: Root up to 5th (Root Position)Pattern 3 (Demo 12)Chromaticism: 5th down to Major 3rdMajor Arpeggio: 5th up to 3rd (2nd Inversion)Visit JazzPianoSkills.com for a comprehensive curriculum of jazz piano courses and lessons exploring the essential jazz piano skills used by professional jazz pianists.Support the show (https://jazzpianoskills.store/amember/signup/jTVzsu3e)

This Jazz Piano Lesson will help you discover, learn, and play the Minor Chromaticism, Pt. 1 to develop jazz improvisation vocabulary. Be sure to Download the Podcast Guide for this podcast that musically notates 12 jazz improvisation motifs using four different motion patterns. An invaluable educational tool to reference while studying and practicing this iconic progression and voicings. Download Podcast Guide.You can listen to this Podcast Episode at JazzPianoSkills and have access to the SpeakPipe Widget that allows you to speak immediately and directly to Dr. Bob Lawrence. Ask your questions, get answers, and interact one-on-one with Bob.PODCAST LESSON OUTLINE Chromatic ScaleFingeringGoogle Search (plenty of good fingering charts)1-3-1-3-1-2-3-1-3-1-3-1-2C Minor7Root to 3rd: 1-3-1-33rd to 5th: 3-1-2-35th to 7th: 1-3-1-3Ascending/Ascending MotionPattern 1 (Demo 1)Chromaticism: Root up to 3rdMinor Arpeggio: 5th up to 3rd (2nd Inversion)Pattern 2 (Demo 2)Chromaticism: 3rd up to b5Minor Arpeggio: 5th up to 3rd (2nd Inversion)Pattern 3 (Demo 3)Chromaticism: 5th up to 7thMinor Arpeggio: Root up to 5th (Root Position)Ascending/Descending MotionPattern 1 (Demo 4)Chromaticism: Root up to 3rdMinor Arpeggio: Root down to 3rd (2nd Inversion)Pattern 2 (Demo 5)Chromaticism: 3rd up to b5Minor Arpeggio: 5th down to Root (Root Position)Pattern 3 (Demo 6)Chromaticism: 5th up to 7thMinor Arpeggio: 5th down to Root (Root Position)Descending/Descending MotionPattern 1 (Demo 7)Chromaticism: Root down to 6thMinor Arpeggio: 5th down to Root (Position)Pattern 2 (Demo 8)Chromaticism: 3rd down to RootMinor Arpeggio: 5th to Root (Root Position)Pattern 3 (Demo 9)Chromaticism: 5th down to Major 3rdMinor Arpeggio: 3rd down to 5th (2nd Inversion)Descending/Ascending MotionPattern 1 (Demo 10)Chromaticism: Root down to 6thMinor Arpeggio: 5th up to 3rd (2nd Inversion)Pattern 2 (Demo 11)Chromaticism: 3rd down to RootMinor Arpeggio: 5th up to 3rd (2nd Inversion)Pattern 3 (Demo 12)Chromaticism: 5th down to Major 3rdMinor Arpeggio: 3rd up to Root (Root Position)Visit JazzPianoSkills.com for a comprehensive curriculum of jazz piano courses and lessons exploring the essential jazz piano skills used by professional jazz pianists.Support the show (https://jazzpianoskills.store/amember/signup/jTVzsu3e)

We started with roots and fifths, next adding chord tones and diatonic notes. Now, let's get chromatic with it to really connect the dots and start sounding like a pro. 

The #chromaticscale or #twelvetonescale is a musical scale with twelve pitches, each a semitone above or below its adjacent pitches. As a result, in 12-tone equal temperament (the most common temperament in Western music), the chromatic scale covers all 12 of the available pitches. Thus, there is only one chromatic scale.[a] Moreover, in equal temperament, all the semitones have the same size (100 cents) and there are twelve semitones in an octave (1200 cents). As a result, the notes of an equal-tempered chromatic scale are equally-spaced. The chromatic scale...is a series of half steps which comprises all the pitches of our [12-tone] equal-tempered system. — Allen Forte (1979)[1] All of the pitches in common use, considered together, constitute the chromatic scale. It is made up entirely of successive half steps, the smallest interval in Western music....Counting by half steps, an octave includes twelve different pitches, white and black keys together. The chromatic scale, then, is a collection of all the available pitches in order upward or downward, one octave's worth after another. — Walter Piston (1987)[2] A chromatic scale is a nondiatonic scale consisting entirely of half-step intervals. Since each tone of the scale is equidistant from the next [symmetry] it has no tonic [key].[3] ... Chromaticism [is t]he introduction of some pitches of the chromatic scale into music that is basically diatonic in orientation, or music that is based on the chromatic scale instead of the diatonic scales.[4] — Benward & Saker (2003) Notation The circle of fifths drawn within the chromatic circle as a star dodecagram.[6] The chromatic scale has no set enharmonic spelling that is always used. Its spelling is, however, often dependent upon major or minor key signatures and whether the scale is ascending or descending. In general, the chromatic scale is usually notated with sharp signs when ascending and flat signs when descending. It is also notated so that no scale degree is used more than twice in succession (for instance, G♭ – G♮ – G♯). Similarly, some notes of the chromatic scale have enharmonic equivalents in solfege. The rising scale is Do, Di, Re, Ri, Mi, Fa, Fi, Sol, Si, La, Li, Ti and the descending is Ti, Te/Ta, La, Le/Lo, Sol, Se, Fa, Mi, Me/Ma, Re, Ra, Do, However, once 0 is given to a note, due to octave equivalence, the chromatic scale may be indicated unambiguously by the numbers 0-11 mod twelve. Thus two perfect fifths are 0-7-2. Tone rows, orderings used in the twelve-tone technique, are often considered this way due to the increase ease of comparing inverse intervals and forms (inversional equivalence). weki --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/vegansteven/message

In this episode I address burnout, the year ahead (2020), practicing fast tempos, and chromaticism.

Continuing where episode 63 left off, this episode will review our previous discussions on diatonic chords and secondary functions. We will now add the secondary seven of V and seven of ii (iiº) chords. Listen for the chord qualities and use your theory brain to find out how to decipher these chord progressions. Use this skill to learn songs faster and know music better!

New Release - Walking Bass Courses from Constructingwalkingjazzbasslines.com Walkin' The Blues - Amazing what a few well structured bass lessons can do. https://courses.constructingwalkingjazzbasslines.com/courses/Walking-Bass-Workshop-The-Blues Contents includes 1. The Jazz Blues Progression2. Analyzing the Form ( diatonic triads )3. Constructing Lines Two Feel Root fifth octave 4. Constructing Lines Two Feel Triads5. Constructing Lines Two Feel Rhythmic devices 6. Dominant 7th chord7. Chromatic approach from below8. Chromatic approach from above9. Chromaticism and the walk upand the walk down10. Repeated notes and chromaticism11. Harmonic Anticipation andplaying across the bar line12. Voice leading 7th chords13. Pedal points14. Tri-Tone substitution15. The Turnaround16. Putting It All Together17. Bebop Blues All lessons include audio samples as well as full notation including bass clef and bass tab. Walking Bass Workshop Courses for upright and electric bass.

No matter what genre you make music in, you can easily funk up your bass lines, which will get people moving to your music. So in this video, you’ll learn how to apply four essential funk elements to your bass lines. But first… tea! DOWNLOAD PDF + WAV + MIDI FROM THIS VIDEO Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in... THEORYLocal Vancouver band FIVE ALARM FUNK just dropped their new single “Wake the Funk Up” feat. Leo P (Too Many Zooz), and it’s one helluva funky tune! All the funk essentials are here: Every beat 1 has a funk flashlight shining on it, there’s enough syncopation to make any dancefloor get on up, the ♭7 is tearing the roof off the sucker, and the song takes you on a chromatic rollercoaster. By the way, chromatic (AKA non-diatonic) refers to notes that are not in the scale. Now, always remember that funk is an attitude, not a genre, so any time you wanna get the party started with a bass line, use these four funk essentials: Accent beat 1 in every bar Syncopate almost everything else Use the ♭7 everywhere you can Seal the deal with chromatic notes SETUPAlright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up eight bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 116 BPM. “Wake the Funk Up” is in E♭ Dorian with a bunch of chromatic notes, but we’ll be using E (instead of E♭), as it has a smaller key signature so it’s easier for learning.  STEP 1. THE ONEAs James Brown famously requested from Bootsy Collins back in the day: If you gimme the one, son, then you can play whatever you want for the rest of the bar. So, make sure you play beat 1 of every bar. We alternated between playing the low root on beat 1, then switching it up with a higher note on beat 1 of every other bar. STEP 2. THE SCALEThe funkiest bass lines often use the blues scale, which is simply the pentatonic minor scale with the ♭5 added in. So, while the horns will be playing in E Dorian, the bass will be playing in E Blues. This scale combo is a funk favourite! And yes, these two scales work perfectly together as their notes overlap (other than the ♭5, but, we’ll throw the ♭5 in the Dorian horns as well). Right, so E Blues contains the notes: E G A B♭ B♮ D, so you can use any of those notes in your bass line. And by the way, if you want our blues scale hack for funky bass lines, along with a MIDI file example, then that’s all included in our Songwriting & Producing PDF (click & scroll down). STEP 3. SYNCOPATED MOTIFNow, as you’ve given Mr Brown all the ones, you’re free to do whatever you want everywhere else. So, you’re gonna create a syncopated motif, which you can then repeat (and vary) to make your bass line. And if you’re new to those terms. Syncopation is when you accent an off-beat, and that injects energy into your groove. And a motif is a short musical idea, which you repeat to give your bass line structure and make it memorable. Our motif consists of a three-note descending line, where the last note is a syncopated 1/16 note. We then repeat our motif, starting on the note we ended on, to form a larger six-note motif. Right, now it’s time to create a motif in your second bar. And yes, you’re leaving the rest of your first bar open, cos space is essential in a funky bass line. And once you’ve created your motif, repeat it in your fourth bar with a variation. We varied our motif by playing it ascending. Next, repeat the original motif in your sixth bar, but add a couple notes. Also, throw in some extra notes at the end of your fourth bar and in your fifth bar. These extra notes start building the energy towards your big ending, which is coming up next. STEP 4. CHROMATIC ENDINGMany great funk bass lines have a wild sound to them, which is often a result of venturing out of the scale. And the classic place to do this, is at the end of your line. This not only builds tension, it also prevents your bass line from becoming boring and predictable. So, in your eighth bar, you’re gonna write a melodic run that uses our old friend Syncopation, as well as our new friend Chromaticism. In Dorian, some funky favourites when it comes to chromatic notes are the 7 (especially when played between the ♭7 and the root), and the ♭2 (especially when played between the root and the 2 leading to the ♭3). Also, remember the funky ♭5, which you should use liberally throughout your bass line. NEXTOkay, so now that you’ve got one section down, how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you! Kate & Ray Harmony (AKA Revolution Harmony)Music Teachers & Producers in Vancouver BC, Canada   LEVELSLevel 1 - Read our free book (below) & watch our YouTube videosLevel 2 - Read our "Part 1" book & "Songwriting & Producing" PDFLevel 3 - Practice making music using our lessons (PDF+MIDI+WAV)Level 4 - Learn our secret art of song-whispering & finish your music ABOUTHack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!). COPYRIGHT© 2019 Revolution HarmonyRevolution Harmony is Ray Harmony & Kate HarmonyAll content (script & music) in video by Revolution HarmonyThumbnail photograph by Brendan Meadows     Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again.   “The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. DOWNLOAD FREE BOOK /* Layout */ .ck_form { /* divider image */ background: #EAE9EA url(data:image/gif;base64,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) repeat-y center top; font-family: 'Montserrat'; line-height: 1.5em; overflow: hidden; color: #000000; font-size: 16px; border-top: none; border-top-color: #666666; border-bottom: none; border-bottom-color: #3d3d3d; -webkit-box-shadow: none; -moz-box-shadow: none; box-shadow: none; clear: both; margin: 0px 0px; } .ck_form, .ck_form * { -webkit-box-sizing: border-box; -moz-box-sizing: border-box; box-sizing: border-box; } #ck_subscribe_form { clear: both; } /* Element Queries — uses JS */ .ck_form_content, .ck_form_fields { width: 50%; float: left; padding: 5%; } .ck_form.ck_horizontal { } .ck_form_content { border-bottom: none; } .ck_form.ck_vertical { background: #fff; } .ck_vertical .ck_form_content, .ck_vertical .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_vertical .ck_form_content { border-bottom: 1px dotted #aaa; overflow: hidden; } /* Trigger the vertical layout with media queries as well */ @media all and (max-width: 499px) { .ck_form { background: #fff; } .ck_form_content, .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_form_content { border-bottom: 1px dotted #aaa; } } /* Content */ .ck_form_content h3 { margin: 0px 0px 0px; font-size: 0px; padding: 0px; } .ck_form_content p { font-size: 14px; } .ck_image { float: left; margin-right: 5px; } /* Form fields */ .ck_errorArea { display: none; } #ck_success_msg { padding: 10px 10px 0px; border: solid 1px #ddd; background: #eee; } .ck_label { font-size: 14px; font-weight: bold; } .ck_form input[type="text"] { font-size: 16px; text-align: center; margin-top: 20px; margin-bottom: 0px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="email"] { font-size: 16px; text-align: center; margin-top: 0px; margin-bottom: 15px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="text"]:focus, .ck_form input[type="email"]:focus { outline: none; border-color: #aaa; } .ck_checkbox { padding: 10px 0px 10px 20px; display: block; clear: both; } .ck_checkbox input.optIn { margin-left: -20px; margin-top: 0; } .ck_form .ck_opt_in_prompt { margin-left: 4px; } .ck_form .ck_opt_in_prompt p { display: inline; } .ck_form .ck_subscribe_button { width: 100%; color: #fff; margin: 0px 0px 0px; padding: 8px 8px; font-size: 18px; background: #d74128; -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ cursor: pointer; border: none; text-shadow: none; } .ck_form .ck_guarantee { color: #626262; font-size: 12px; text-align: center; padding: 5px 0px; display: block; } .ck_form .ck_powered_by { display: block; color: #aaa; } .ck_form .ck_powered_by:hover { display: block; color: #444; } .ck_converted_content { display: none; padding: 5%; background: #fff; } /* v6 */ .ck_form_v6 #ck_success_msg { padding: 0px 10px; } @media all and (max-width: 403px) { .ck_form_v6.ck_modal .ck_close_link { top: 30px; } } @media all and (min-width: 404px) and (max-width: 499px) { .ck_form_v6.ck_modal .ck_close_link { top: 57px; } }

No matter what genre you make music in, you can easily funk up your bass lines, which will get people moving to your music. So in this video, you'll learn how to apply four essential funk elements to your bass lines. But first… tea! DOWNLOAD PDF + WAV + MIDI FROM THIS VIDEO Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let's jump in... THEORYLocal Vancouver band FIVE ALARM FUNK just dropped their new single “Wake the Funk Up” feat. Leo P (Too Many Zooz), and it's one helluva funky tune! All the funk essentials are here: Every beat 1 has a funk flashlight shining on it, there's enough syncopation to make any dancefloor get on up, the ♭7 is tearing the roof off the sucker, and the song takes you on a chromatic rollercoaster. By the way, chromatic (AKA non-diatonic) refers to notes that are not in the scale. Now, always remember that funk is an attitude, not a genre, so any time you wanna get the party started with a bass line, use these four funk essentials: Accent beat 1 in every bar Syncopate almost everything else Use the ♭7 everywhere you can Seal the deal with chromatic notes SETUPAlright, now you're gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up eight bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 116 BPM. “Wake the Funk Up” is in E♭ Dorian with a bunch of chromatic notes, but we'll be using E (instead of E♭), as it has a smaller key signature so it's easier for learning.  STEP 1. THE ONEAs James Brown famously requested from Bootsy Collins back in the day: If you gimme the one, son, then you can play whatever you want for the rest of the bar. So, make sure you play beat 1 of every bar. We alternated between playing the low root on beat 1, then switching it up with a higher note on beat 1 of every other bar. STEP 2. THE SCALEThe funkiest bass lines often use the blues scale, which is simply the pentatonic minor scale with the ♭5 added in. So, while the horns will be playing in E Dorian, the bass will be playing in E Blues. This scale combo is a funk favourite! And yes, these two scales work perfectly together as their notes overlap (other than the ♭5, but, we'll throw the ♭5 in the Dorian horns as well). Right, so E Blues contains the notes: E G A B♭ B♮ D, so you can use any of those notes in your bass line. And by the way, if you want our blues scale hack for funky bass lines, along with a MIDI file example, then that's all included in our Songwriting & Producing PDF (click & scroll down). STEP 3. SYNCOPATED MOTIFNow, as you've given Mr Brown all the ones, you're free to do whatever you want everywhere else. So, you're gonna create a syncopated motif, which you can then repeat (and vary) to make your bass line. And if you're new to those terms. Syncopation is when you accent an off-beat, and that injects energy into your groove. And a motif is a short musical idea, which you repeat to give your bass line structure and make it memorable. Our motif consists of a three-note descending line, where the last note is a syncopated 1/16 note. We then repeat our motif, starting on the note we ended on, to form a larger six-note motif. Right, now it's time to create a motif in your second bar. And yes, you're leaving the rest of your first bar open, cos space is essential in a funky bass line. And once you've created your motif, repeat it in your fourth bar with a variation. We varied our motif by playing it ascending. Next, repeat the original motif in your sixth bar, but add a couple notes. Also, throw in some extra notes at the end of your fourth bar and in your fifth bar. These extra notes start building the energy towards your big ending, which is coming up next. STEP 4. CHROMATIC ENDINGMany great funk bass lines have a wild sound to them, which is often a result of venturing out of the scale. And the classic place to do this, is at the end of your line. This not only builds tension, it also prevents your bass line from becoming boring and predictable. So, in your eighth bar, you're gonna write a melodic run that uses our old friend Syncopation, as well as our new friend Chromaticism. In Dorian, some funky favourites when it comes to chromatic notes are the 7 (especially when played between the ♭7 and the root), and the ♭2 (especially when played between the root and the 2 leading to the ♭3). Also, remember the funky ♭5, which you should use liberally throughout your bass line. NEXTOkay, so now that you've got one section down, how do you write the other sections? And then, how do you transition between all the sections (especially when they're in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that's exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you! Kate & Ray Harmony (AKA Revolution Harmony)Music Teachers & Producers in Vancouver BC, Canada   LEVELSLevel 1 - Read our free book (below) & watch our YouTube videosLevel 2 - Read our "Part 1" book & "Songwriting & Producing" PDFLevel 3 - Practice making music using our lessons (PDF+MIDI+WAV)Level 4 - Learn our secret art of song-whispering & finish your music ABOUTHack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!). COPYRIGHT© 2019 Revolution HarmonyRevolution Harmony is Ray Harmony & Kate HarmonyAll content (script & music) in video by Revolution HarmonyThumbnail photograph by Brendan Meadows     Wooohooo!!! You're a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again.   “The most brilliant, fast, easy & fun music theory book I've ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. DOWNLOAD FREE BOOK /* Layout */ .ck_form { /* divider image */ background: #EAE9EA url(data:image/gif;base64,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) repeat-y center top; font-family: 'Montserrat'; line-height: 1.5em; overflow: hidden; color: #000000; font-size: 16px; border-top: none; border-top-color: #666666; border-bottom: none; border-bottom-color: #3d3d3d; -webkit-box-shadow: none; -moz-box-shadow: none; box-shadow: none; clear: both; margin: 0px 0px; } .ck_form, .ck_form * { -webkit-box-sizing: border-box; -moz-box-sizing: border-box; box-sizing: border-box; } #ck_subscribe_form { clear: both; } /* Element Queries — uses JS */ .ck_form_content, .ck_form_fields { width: 50%; float: left; padding: 5%; } .ck_form.ck_horizontal { } .ck_form_content { border-bottom: none; } .ck_form.ck_vertical { background: #fff; } .ck_vertical .ck_form_content, .ck_vertical .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_vertical .ck_form_content { border-bottom: 1px dotted #aaa; overflow: hidden; } /* Trigger the vertical layout with media queries as well */ @media all and (max-width: 499px) { .ck_form { background: #fff; } .ck_form_content, .ck_form_fields { padding: 10%; width: 100%; float: none; } .ck_form_content { border-bottom: 1px dotted #aaa; } } /* Content */ .ck_form_content h3 { margin: 0px 0px 0px; font-size: 0px; padding: 0px; } .ck_form_content p { font-size: 14px; } .ck_image { float: left; margin-right: 5px; } /* Form fields */ .ck_errorArea { display: none; } #ck_success_msg { padding: 10px 10px 0px; border: solid 1px #ddd; background: #eee; } .ck_label { font-size: 14px; font-weight: bold; } .ck_form input[type="text"] { font-size: 16px; text-align: center; margin-top: 20px; margin-bottom: 0px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="email"] { font-size: 16px; text-align: center; margin-top: 0px; margin-bottom: 15px; padding: 8px 8px; width: 100%; border: 1px solid #d6d6d6; /* stroke */ -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ background-color: #fff; /* layer fill content */ height: auto; } .ck_form input[type="text"]:focus, .ck_form input[type="email"]:focus { outline: none; border-color: #aaa; } .ck_checkbox { padding: 10px 0px 10px 20px; display: block; clear: both; } .ck_checkbox input.optIn { margin-left: -20px; margin-top: 0; } .ck_form .ck_opt_in_prompt { margin-left: 4px; } .ck_form .ck_opt_in_prompt p { display: inline; } .ck_form .ck_subscribe_button { width: 100%; color: #fff; margin: 0px 0px 0px; padding: 8px 8px; font-size: 18px; background: #d74128; -moz-border-radius: 4px; -webkit-border-radius: 4px; border-radius: 30px; /* border radius */ cursor: pointer; border: none; text-shadow: none; } .ck_form .ck_guarantee { color: #626262; font-size: 12px; text-align: center; padding: 5px 0px; display: block; } .ck_form .ck_powered_by { display: block; color: #aaa; } .ck_form .ck_powered_by:hover { display: block; color: #444; } .ck_converted_content { display: none; padding: 5%; background: #fff; } /* v6 */ .ck_form_v6 #ck_success_msg { padding: 0px 10px; } @media all and (max-width: 403px) { .ck_form_v6.ck_modal .ck_close_link { top: 30px; } } @media all and (min-width: 404px) and (max-width: 499px) { .ck_form_v6.ck_modal .ck_close_link { top: 57px; } }

No matter what genre you make music in, you can easily funk up your bass lines, which will get people moving to your music. So in this video, you’ll learn how to apply four essential funk elements to your bass lines. But first… tea! DOWNLOAD PDF + WAV + MIDI FROM THIS VIDEO Hello revolutionary music makers, we are Kate Harmony and Ray Harmony (AKA Revolution Harmony), and welcome to Hack Music Theory. We help you make great music that stands out, so you can move and grow your audience! If that sounds useful to you, then subscribe to our YouTube channel and hit that bell to get notified every Thursday, when we publish our new video. Alright, let’s jump in... THEORYLocal Vancouver band FIVE ALARM FUNK just dropped their new single “Wake the Funk Up” feat. Leo P (Too Many Zooz), and it’s one helluva funky tune! All the funk essentials are here: Every beat 1 has a funk flashlight shining on it, there’s enough syncopation to make any dancefloor get on up, the ♭7 is tearing the roof off the sucker, and the song takes you on a chromatic rollercoaster. By the way, chromatic (AKA non-diatonic) refers to notes that are not in the scale. Now, always remember that funk is an attitude, not a genre, so any time you wanna get the party started with a bass line, use these four funk essentials: Accent beat 1 in every bar Syncopate almost everything else Use the ♭7 everywhere you can Seal the deal with chromatic notes SETUPAlright, now you’re gonna learn how to use this theory to make your own version, and what you see on the screen right now is our version that we made earlier. So, start by setting up eight bars of 4/4, with your grid set to 1/16 notes, and your tempo set to 116 BPM. “Wake the Funk Up” is in E♭ Dorian with a bunch of chromatic notes, but we’ll be using E (instead of E♭), as it has a smaller key signature so it’s easier for learning.  STEP 1. THE ONEAs James Brown famously requested from Bootsy Collins back in the day: If you gimme the one, son, then you can play whatever you want for the rest of the bar. So, make sure you play beat 1 of every bar. We alternated between playing the low root on beat 1, then switching it up with a higher note on beat 1 of every other bar. STEP 2. THE SCALEThe funkiest bass lines often use the blues scale, which is simply the pentatonic minor scale with the ♭5 added in. So, while the horns will be playing in E Dorian, the bass will be playing in E Blues. This scale combo is a funk favourite! And yes, these two scales work perfectly together as their notes overlap (other than the ♭5, but, we’ll throw the ♭5 in the Dorian horns as well). Right, so E Blues contains the notes: E G A B♭ B♮ D, so you can use any of those notes in your bass line. And by the way, if you want our blues scale hack for funky bass lines, along with a MIDI file example, then that’s all included in our Songwriting & Producing PDF (click & scroll down). STEP 3. SYNCOPATED MOTIFNow, as you’ve given Mr Brown all the ones, you’re free to do whatever you want everywhere else. So, you’re gonna create a syncopated motif, which you can then repeat (and vary) to make your bass line. And if you’re new to those terms. Syncopation is when you accent an off-beat, and that injects energy into your groove. And a motif is a short musical idea, which you repeat to give your bass line structure and make it memorable. Our motif consists of a three-note descending line, where the last note is a syncopated 1/16 note. We then repeat our motif, starting on the note we ended on, to form a larger six-note motif. Right, now it’s time to create a motif in your second bar. And yes, you’re leaving the rest of your first bar open, cos space is essential in a funky bass line. And once you’ve created your motif, repeat it in your fourth bar with a variation. We varied our motif by playing it ascending. Next, repeat the original motif in your sixth bar, but add a couple notes. Also, throw in some extra notes at the end of your fourth bar and in your fifth bar. These extra notes start building the energy towards your big ending, which is coming up next. STEP 4. CHROMATIC ENDINGMany great funk bass lines have a wild sound to them, which is often a result of venturing out of the scale. And the classic place to do this, is at the end of your line. This not only builds tension, it also prevents your bass line from becoming boring and predictable. So, in your eighth bar, you’re gonna write a melodic run that uses our old friend Syncopation, as well as our new friend Chromaticism. In Dorian, some funky favourites when it comes to chromatic notes are the 7 (especially when played between the ♭7 and the root), and the ♭2 (especially when played between the root and the 2 leading to the ♭3). Also, remember the funky ♭5, which you should use liberally throughout your bass line. NEXTOkay, so now that you’ve got one section down, how do you write the other sections? And then, how do you transition between all the sections (especially when they’re in different keys)? And then, how do you structure and arrange your song? Well, these are issues that many songwriters and producers struggle with, and that’s exactly why we made our online apprenticeship course. So, if you wanna overcome these obstacles once and for all, then our course is definitely for you! Kate & Ray Harmony (AKA Revolution Harmony)Music Teachers & Producers in Vancouver BC, Canada   LEVELSLevel 1 - Read our free book (below) & watch our YouTube videosLevel 2 - Read our "Part 1" book & "Songwriting & Producing" PDFLevel 3 - Practice making music using our lessons (PDF+MIDI+WAV)Level 4 - Learn our secret art of song-whispering & finish your music ABOUTHack Music Theory is a pioneering DAW method for making great music that stands out, so you can move and grow your audience! Taught by award-winning music lecturer Ray Harmony, and his protégé wife Kate Harmony, from their studio in Vancouver BC, Canada. Ray is the author of critically-acclaimed book series "Hack Music Theory", and has made music with Serj Tankian (System of a Down), Tom Morello (Rage Against the Machine), Steven Wilson (Porcupine Tree), Devin Townsend (Strapping Young Lad), Ihsahn (Emperor), Kool Keith (Ultramagnetic MCs), Madchild (Swollen Members), and many more! Kate has the highest grade distinction in Popular Music Theory from the London College of Music, and is the only person on the planet who's been trained by Ray to teach his method. On that note, the "Hack Music Theory" YouTube channel teaches relevant and instantly-usable music theory for producers, DAW users, and all other music makers (songwriters, singers, guitarists, bassists, drummers, etc.) in all genres, from EDM to R&B, pop to hip-hop, reggae to rock, electronic to metal (and yes, we djefinitely djent!). COPYRIGHT© 2019 Revolution HarmonyRevolution Harmony is Ray Harmony & Kate HarmonyAll content (script & music) in video by Revolution HarmonyThumbnail photograph by Brendan Meadows     Wooohooo!!! You’re a mere 30 minutes away from being even smarter than you already are. Just head on over to your inbox now for your free download. There was an error submitting your subscription. Please try again.   “The most brilliant, fast, easy & fun music theory book I’ve ever seen!” DEREK SIVERS, CD Baby founder We use this field to detect spam bots. If you fill this in, you will be marked as a spammer. 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Welcome to episode 158 of the LJS Podcast where today we are talking about how to add chromaticism into your jazz lines. Chromaticism is one of the characteristics of a classic "jazz sound" and so we take a close look at how to implement it. We go over 5 different licks and gradually introduce chromaticism into them. View the show notes: https://www.learnjazzstandards.com/episode158 Sign up for the newsletter: https://www.learnjazzstandards.com/newsletter

The Neapolitan chord and the Neapolitan Sixth chord add a very distinctive sound to a progression. You've heard it many times and you probably LOVED it. Now you're going to learn all about it! We will discuss how to build one, how it's used in a progression and we'll play a few examples you may recognize. This ain't just some boring ice cream favor. This is good music!

We are bringing chromaticism to your doorstep! Today's special delivery? Mixed modes and borrowed chords! Learn how borrowing just two or three notes from a parallel key can allow for several new chords that can add intrigue to your progressions and help to smooth our your modulations.

Continuing where episode 43 left off, this episode will review the previously discussed chords: I, II7, III, IV, V, VI and VII (in major and minor) and their inversions. We will now add some secondary dominants: (V/V, V/II). Listen for the chord qualities (major, minor, dominant 7th, minor 7th and diminished) and use your theory brain to find out how to decipher chord progressions. Use this skill to learn songs faster and know music better!

Join us, as we continue to venture toward the coming mountain of chromaticism. We will approach the foothills as we resume our discussion of secondary dominants. We will talk about how these chords can be used in the tonicization of chords other than the tonic, with their dominant function. In this episode, we will focus on the V of ii (V/ii), V of vi (V/vi) and the V of iii (V/iii).

In "Facing Off Across Sunset Boulevard" La Jolla Symphony & Chorus celebrate mavericks and visionaries. The concert's title refers to the giants of 20th-century music whose work bookends the program, Arnold Schoenberg and Igor Stravinsky. The two men lived scant miles apart in Los Angeles after fleeing Nazism yet never interacted, separated less by distance than by sharp differences in compositional method, aesthetic direction, and personality. Whatever their differences, their work inspired the other three composers represented on the program - Olivier Messiaen, Hannah Lash, and Toru Takemitsu - to continue their exploration of sonority, classical form, and movement. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33164]

In "Facing Off Across Sunset Boulevard" La Jolla Symphony & Chorus celebrate mavericks and visionaries. The concert's title refers to the giants of 20th-century music whose work bookends the program, Arnold Schoenberg and Igor Stravinsky. The two men lived scant miles apart in Los Angeles after fleeing Nazism yet never interacted, separated less by distance than by sharp differences in compositional method, aesthetic direction, and personality. Whatever their differences, their work inspired the other three composers represented on the program - Olivier Messiaen, Hannah Lash, and Toru Takemitsu - to continue their exploration of sonority, classical form, and movement. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 33164]

Join us as we venture toward chromaticism with this discussion of secondary dominants. We will talk about how these chords can be used in the tonicization of chords other than the tonic, with their dominant function. In this episode, we will focus on the V of V (V/V) and the V of IV (V/IV).

show#704 08.13.17 Spinner Workin' Hard For Ya' !!! 1. Rick Estrin & The Nightcats - So Long (For Jay P) from Groovin' In Greaseland 2017 Alligator (3:23) 2. Joanna Connor - We Stayed Together from Six String Stories 2016 M.C. Records (5:35) 3. Johnny Oskam - Devil's Comin' from In My Shadow 2017 self-release (7:16) 4. Bily Price - It Ain't a Juke Joint Without the Blues from Alive & Strange 2017 Nola Blue / VizzTone (7:03) 5. The Cash Box Kings - I'm A Stranger from Royal Mint 2017 Alligator (3:18) 6. Webster Ave - Daylight from Webster Ave 2017 self-release (3:08) 7. Milligan Vaughan Project - Leave My Girl Alone from MVP 2017 Mark One Records (4:21) 8. Grateful Dead - All New Minglewood Blues from Shakedown Street 1978 Arista (4:10) 9. Little Feat - A Apolitical Blues from Sailin' Shoes 1972 Warner Bros (3:24) 10. Steve Samuels - I Believe from Saturday Night Blues 1984 Blue Sting (4:40) 11. Tony Joe White - 300 Pounds of Hongry from The Train I'm On 1972 Warner Bros (2:41) 12. Donnie Fritts - Sumpin' Funky Going On from Prone To Lean 1974 Atlantic (2:49) 13. Jason Ricci and the Bad Kind - Terrors Of Nightlife from Approved By Snakes 2017 Ellersoul (7:18) 14. Steve Howell and Jason Weinheimer - I've Got the Blues, Can't Be Satisfied from A Hundred Years From Today 2017 Out of the Past Music (3:11) 15. The Blues Overdrive - I Was Wrong from Overdrive Live 2017 self-release (3:30) 16. Johnny Ray Jones - Hole In Your Soul from Feet Back In The Door 2017 Moondoog Records (4:41) 17. Mo Al Jaz and Friends - Aw'h Baby from The Blues Of Little Walter 2017 Rhythm Bomb Records (3:06) 18. Hard Swimmin' Fish - Love Me Or You Don't from True Believer 2016 Hard Swimmin' Fish (5:09) 19. Big Harp George - Hey Jaleh! from Chromaticism 2014 Blue Mountain (2:54) 20. Howlin' Wolf - Poor Boy from All Night Boogie 1981 Cleo (4:05) 21. Ted & the Tall Tops - Gulf Coast Saturday Night from Crazy Date 1987 New Rose (3:02) 22. Sweet d'Buster - Bread from Sweet d'Buster 1977 Bubble/Ariola (3:17) 23. Arlo Guthrie - Fence Post Blues from Washington County 1970 Reprise (3:05) 24. Barrence Whitfield & the Savages - Big Mamou from Live Emulsified 1989 Rounder/Zensor (3:12) 25. ZZ Top - Cheap Sunglasses from Degüello 1979 Warner Bros (4:43) 26. Jan Akkerman - Bags Groove from Talent For Sale 1968 Imperial (2:42) 27. Geoff Muldaur & Amos Garrett - My Tears Came Rolling Down from Geoff Muldaur & Amos Garrett 1978 Flying Fish (3:49)

show#699 07.09.17 Surprise,Surprise!! Spinner is still In The States!! 1. Grégoire Maret- Manhã Du Sol from Grégoire Maret 2012 Entertainment One (5:49) 2. Andy T Band featuring Alabama Mike - I Want You Bad from Double Strike 2017 American Showplace Music (3:32) 3. The Cash Box Kings - House Party from Royal Mint 2017 Alligator (3:03) 4. Stacy Jones - Stomp Jump Boogie from Love is Everywhere 2017 self-release (3:45) 5. Joakim Tinderholt & His Band - Anything Is Better Than Nothing from Hold On 2016 Rhythm Bomb Records (2:49) 6. Sherman Holmes - Liza Jane from LIVE at WXPN 6/21/2017 (4:44) 7. Halley DeVestern Band - Hit Twice from Keep On Playin' 2017 Devestunes & LI'L.T. (4:35) 8. Antry - How Far Down from Devil Don't Care 2017 Tres Lobas Enterprises (5:28) 9. Michele D'Amour and the Love Dealers - All I Do Is Work from Lost Nights At The Leopard Lounge 2017 self-release (4:42) 10. Victor Wainwright and the WildRoots - The Devils' Bite from Boom Town 2015 Blind Pig (4:37) 11. Anthony Gomes - Losing Game from Electric Field Holler 2015 Up 2 Zero Entertainment (3:32) 12. David Bromberg - Keep On Drinkin' from Only Slightly Mad 2013 Appelseed (3:49) 13. Cee Cee James - 100 Ways To Make Love from Blood Red Blues 2012 FWG Records (5:17) 14. Dudley Taft - God Forbid from Deep Deep Blue 2013 Believe Digital (4:18) 15. Ray Wylie Hubbard - Name Droppin' from Growl 2010 Rounder Records (3:32) 16. The Nighthawks - High Snakes from 444 2014 Eller Soul Records (4:01) 17. Big Harp George - Chromaticism from Chromaticism 2014 Blue Mountain (3:32) 18. Keith Sykes - Tearing the House Down from Let It Roll 2006 Fat Pete (3:39) 19. Duke Robillard - Cookin' from Guitar Groove a Rama 2006 Stony Plain (5:36) 20. Treasa Levasseur - Feel Good Time from Broad 2012 Slim Chicken (3:32) 21. Michael Powers - Baby Got a Train from Songs From Onyx Root (7:56) 22. Steve Guyger - Rib Shack Boogie from Past Life Blues 1999 Severn (4:39) 23. David Coppa & Scrapple - Boogie All Night from Storm 199? self-release (3:02) 24. Tino Gonzales - Iz Them Da Blues from Nuke The World 2003 Dixiefrog (4:15) 25. Bill Perry - Boogie Blues from Love Scars 1996 Virgin (3:08) 26. Denis Leary - Asshole from On Cure For Cancer 1993 A&M (4:30)

show#680 02.26.17 Amazing Cover Tune Show !!! Hurricane Ruth - Whole Lotta Rosie from Ain't Ready For The Grave 2017 CD Baby (4:10) Vanessa Collier - When Love Comes To Town from Meeting My Shadow 2017 Ruf (4:57) The Matthew Stubbs Band - Rip It Up from 2004 DEMO 2004 (2:33) The Bo-Keys - Wasted Days And Wasted Nights from Heartaches By The Number 2016 Omnivore Recordings (3:05) Professor Louie & The Crowmatix - High Heel Sneakers from Crowin' The Blues 2017 Woodstock Records (3:31) Steve Strongman - You Ain't Seen Nothing Yet from No Time Like Now 2017 Sonic Unyon Records (3:52) Homewreckers - You Know It Ain't Right from Out of the Shadows 1993 Viceroy (3:23) Johnny Winter - Stray Cat Blues from Saints & Sinners 1974 CBS (4:17) Joss Stone - Some Kind Of Wonderful from The Soul Sessions 2003 Virgin/S-Curve (3:56) Big Harp George - Smack Dab In The Middle from Chromaticism 2014 Blue Mountain (3:31) Count Basie & Joe Williams - Please Send Me Someone to Love from Count Basie Swings - Joe Williams Sings 1955 Clef/Verve (3:33) Doc Watson - Bird Dog from Docabilly 1995 Sugar Hill (3:58) Patty Reese - Don't Think Twice, It's Alright from Let In The Sun 2017 Azalea records (5:22) Beth Hart & Joe Bonamassa - Chocolate Jesus from Live In Amsterdam 2014 J+R Adventures (2:51) Sari Schorr - Black Betty from A Force Of Nature 2016 Manhaton (4:50) Shemekia Copeland - Jesus Just Left Chicago from Outskirts Of Love 2015 Alligator (4:35) Wee Willie Walker & The Greaseland All-Stars - Little Red Rooster from LIVE! Notodden Blues Festival 2016 Little Village Foundation (5:34) Little Charlie And Organ Grinder Swing - How High The Moon from Skronky Tonk 2016 Eller Soul Records (4:08) Gonzalo Bergara - You Don't Have To Go from Zalo's Blues 2016 CD Baby (3:13) Taj Mahal - All Along the Watchtower from Hanapepe Dream 2001 Tradition & Moderne (3:30) Tom Waits - Sea Of Love from Orphans - Brawlers 2006 Anti- (3:43) Riff Burglars - Strange Brew from Short List 1982 Line (2:42) Omar & The Howlers - Hit The Road Jack from SwingLand 1998 Provogue (3:52) Blues Beatles - Yesterday from Live in Comep Studio 2014 YouTube (8:09) Ally Venable Band - Love Me Like A Man from No Glass Shoes 2016 Conner Ray Music (4:02) Jack MacK And The Heart Attack - Whiter Shade Of Pale from Jack Mack & The Heart Attack Live in Philidelphia 2002 (3:25) Bill Perry - Little Wing from Live in NYC 1999 Virgin (12:28) Amos Garrett, Doug Sahm, Gene Taylor Band - T-Bone Shuffle from Live In Japan 1990 (6:43) Bugs Henderson - Boppin´ The Blues/Blues Suede Shoes from All Last - Live 1978 Taxim (6:26) Johnny Winter - It's All Over Now from Captured Live 1976 Blue Sky (5:47) Larry Coryell - Further Explorations For Albert Stinson from Fairyland 1971 Mega Records (6:30)

show#649 07.03.16 Whatta Mess....O'Blues Sorry .. PC problems continue... Beardo is MUTE !!! 1. Iron Bridge Band - Black Sheep's Son from Against The Grain 2016 (4:09) 2. Tweed Funk - Who Is This from Come Together 2016 (4:18) 3. RB Stone - Another Thief from Some Call It Freedom (3:25) 4. Big Harp George - Crazy About You Baby from Chromaticism 2014 (4:19) 5. Bert Deivert - Cypress Grove from Kid Man Blues 2011 (5:33) 6. The Bluesbones - No Good for Me (Live) from Double Live 2016 (4:29) 7. Peter Karp - The Nietzsche Lounge from The Arson's Match 2015 (5:39) 8. Mark May Band with The Soul Satyr Horns - Gulf Coast Woman from Blues Heaven 2016 (5:06) 9. Markey Blue - Be My Train from The Blues Are Knockin' (5:01) 10. Blind Lemon Pledge - Rail Road Mama from Pledge Drive (3:15) 11. Leon Bibb - Ol' Man River from Praising Peace 2006 (2:49) 12. Eric Bibb - Sinner Man from Deeper in the Well 2012 (4:53) 13. Yana Bibb - Before You Go from Afternoon In Paris 2016 (4:57) 14. Frank Zappa - Black Napkins from Philly '76 2009 (18:57) 15. Oli Brown - Speechless from Heads I Win Tails You Lose 2010 (4:30) 16. Gurf Morlix - Food, Water, Shelter & Love from Diamonds to Dust 2007 (5:11) 17. Q65 - Spoonful from Revolution 1966 (3:29) 18. The Peddlers - Horses Collar from 45 RPM Single-B Side 1968 (2:06) 19. Billy Price & Fred Chapéllier - I'll Take Care Of You from Live On Stage 2010 (8:48) 20. Fleetwood Mac - Rattlesnake Shake from BBC (7:38)

SHOW #327 Peter Harper is an award-winning singer/songwriter out of Australian.  Simply known as Harper, he has been receiving glowing reviews for his music and the album, Show Your Love.  Peter and I will talk about his career and where he is heading. Terrie Odabi comes out of San Francisco and has earned her way to the International Blues Challenge in both 2014 and 2015.  Her new album is entitled My Blue Soul and it is 13 original tunes that will infect your soul.  Terrie and I will explore her journey while we listen to the tunes. Alabama Mike first sat on The Couch as a member of The Hound Kings.  He returns with his solo album, Upset The Status Quo, recorded at Greaseland Studios with Kid Andersen producing.  The album features 8 originals and Mike and I will discuss the recording of this album. Big Harp George returns with Wash My Horse In Champagne, his follow-up to the highly successful debut, Chromaticism.  George and I will discuss the album and all that has been happening in his life since he last appeared on The Couch.

show#62902.07.16 Labour of Love.....?          Chris Farley - "Are You Ready For Some Football!!!!" Brian Auger & The Trinity - Red Beans And Rice from Definitely What! 1974 (5:43)Blu Acid - Can't Stand It 2016 (6:17)RB Stone - Won't Stop Rockin' from Some Call It Freedom 2016(3:33)Dennis Jones - Shines On You from Both Sides of the Track 2016 (3:59)Free - The Stealer from Highway 1970 (3:07)Christine Perfect - I'm Too Far Gone from Christine Perfect 1970 (3:22)Nappy Brown - Have Mercy Mercy Baby! from Something Gonna Jump Out The Bushes 1987 (3:25)Albert King - Personal Manager from Born Under A Bad Sign 1967 (4:27)Ferre Grignard - Ring Ring I've Got To Sing from Ring Ring I've Got To Sing 1966 (3:50)Ruth Brown - It's Love Baby from Rock & Roll 1957 (2:41)Johnny Mars - It's My Own Fault from Blues From Mars 1972 (5:58)Tony Joe White - Woman With Soul from ...Continued 1969 (3:14)Wet Willie - It Hurts Me Too from Wet Willie II 1972 (4:55)Steve Samuels - I Dig It from Saturday Night Blues 1984 (4:28)Jeff Turmes - I'm Not a Doctor from Wreckage 2015 (4:08)Bob Corritore - Harmonica Watusi from Taboo 2014 (3:29)Big Harp George - Strolling Down Bliss Street from Chromaticism 2014 (3:36)Chris Yakopcic - Phonograph Blues from The Next Place I Leave (3:24)Lincoln Durham - Rise In The River from Exodus of the Deemed Unrighteous 2014 (2:53)Gaetano Letizia and The Underworld Blues Band - Torture Me from Voodoo Doll and Other Blues Lessons (5:33)Blacktop Deluxe - Moving Up A Gear from Turn Up, Be Nice, Play Hard 2014 (3:57)Alex Schultz - No Use Knocking from Think About It 2004 (3:07)Nick Jameson - In the Blue from Already Free 1977 (6:53)

Alex and Freddy discuss chromaticism in pop music, as well as a fun on-the-cusp music game.  They also discuss criticisms of their music majors, and what they wish would have been taught in their courses of study.

show#601 07.28.15 Ouch!  We are both hurtin' !!! Buddy Guy - Thick Like Mississippi Mud from Born To Play Guitar 2015 (4:03) Will Johns - Last Page Of The Blues from ??? 2015 (3:32) Jackie Payne - When The Blues Come Knockin' from I Saw The Blues 2015 (4:03) John Mayall’s Bluesbreakers - The Stumble from Live In 1967 2015 (6:47) Dr. John - My People Need a Second Line from City That Care Forgot 2008 (5:18) 13 Featuring Lester Butler - Pray for Me from 13 1997 (3:07) Deborah Coleman - Memory Lane from Livin' On Love 2001 (4:08) John Ginty - Elvis Presley from Bad News Travels Live 2014 (5:46) Joakim Tinderholt - It's Your Voodoo Working from You Gotta Do More 2015 (4:15) John Németh - Three Times A Fool from Memphis Grease 2014 (5:03) Delta Moon - Jelly Roll from Low Down 2015 (2:59) Diane Durrett - Butter's In The Skillet from Soul Suga (3:49) Michele D'Amour & The Love Dealers - Dress Code from Ante Up 2015 (2:50) Paul deLay - In the Pocket from Heavy Rotation 2001 (5:15) Lightnin' Hopkins - Picture on the Wall from Moon Rise 2000 (2:49) Robert Palmer - Stupid Cupid from Drive 2003 (2:09) Bluesiana Triangle - For Art's Sake from Bluesiana II 1991 (8:13) Al Basile - Nibblin' Through The Fence from Woke Up In Memphis 2014 (3:16) Oz Noy - Slow Grease from Asian Twistz 2015 (9:08) Big Harp George - Cocktail Hour from Chromaticism 2014 (4:57) Aki Kumar - Drifting Blues from Don't Hold Back 2014 (5:51) Gaetano Letizia & The Underworld Blues Band - Blow The Blues Away from Voodoo Doll And Other Blues Lessons 2013 (3:21) The Blues Overdrive - Three Time Lover from Clinch! 2015 (3:22) Granvil Poynter - I Know What I Want from Another Day Singing The Blues 2013 (2:37) Vaneese Thomas - When My Baby Gets home from Blues For My Father 2014 (4:19) Jason Elmore & Hoodoo Witch - Dirt Ain't Enough from Tell You What 2013 (8:09)

Stacy Mitchhart has always been a bandleader. He developed his sound and stagecraft at the helm of four groups in his hometown of Cincinnati — climbing the pinnacle of the city’s blues scene. “I heard Springsteen, Zeppelin and Pink Floyd, but that stuff never moved me,” he recounts. “When I saw Bobby ‘Blue’ Bland and B.B. King, I knew what I wanted to do." And that brings us to his 12th album, Live My Life.  I get to sit with Stacy and talk about his incredible journey in music and from Cincinnati to his current hometown, Nashville. It's been two months since ChefJimi took his seat On The Couch and he will have a ton to discuss in his Blues411 Report, his anniverary, Daytona Blues Fest, the recently announced Blues Blast Award Winners and so much more... Big Harp George is, in the real world, George Bisharat.  He is 59 years old and just released his debut album entitled Chromaticism.  You have to wonder where this man has been all this time and how he ended up recording his debut album at Kid Andersen's Greaseland Studio with such incredible musicians and what in the world has he been doing all these years?  We'll get you all those answers as we speak with george and share music from his album. COUCH KID NEW MUSIC features Tas Cru returning to The Couch.  His initial visit was back in December of 2012 and he returns with some World Premiers from his about to be released album You Keep The Money.  The album is going to be some great new music from this "Master Of The Triple Entendre" and we are lucky to be able to share it with you prior to its release. "Musicians You Should Know"

show#55508.30.14 Mo' Women from Spinner and Beardo gets Extreme!! Big Harp George - Left So Soon from Chromaticism 2014 (5:13)T-Bone Walker, Big Joe Turner, Otis Spann, Ernie Watts & George 'Harmonica' Smith - Paris Blues from Super Black Blues 1969 (13:59)Oz Noy - Blue Ball Blues (feat Warren Haynes) from Twisted Blues Vol 2 2014 (6:05)Hurricane Ruth - Slow Burn from Born on the River (5:46)Ian Siegal - strong woman from Candy Store Kid 2012 (2:15)Merryweather (ft. Charlie Musselwhite) - rough dried woman from Word Of Mouth 1969 (3:35)Ruff Kutt Blues Band - Stone Cold Woman from Mill Block Blues 2011 (5:00)Charlie Musselwhite - She May Be Your Woman from Ace of Harps 1990 (8:40)Earl Hooker - Anna Lee from 15 Down Home Urban Blues Classics - Arhoolie102 1996 (6:31)Big Frank & the Healers - hot little mama from vintage 1040 - from the vaults (3:40)Michael Powers - little wing from songs from onyx root (10:07)The Blues Factory - Six-Pack Woman from Take a Stroll! 1998 (3:11)R.J. Mischo - One Good Woman from Meet Me on the Coast 2002 (2:46)Joe Filisko & Eric Noden - kindhearted woman from Live 2006 (5:08)Robson Fernandes - She's Gone from Cool (5:07)Lynwood Slim and the Igor Prado Band - Is It True? from Brazillian Kicks 2010 (3:35)Rod Piazza & the Mighty Flyers - Gambling Woman from Emergency Situation 2014 (3:34)Anson Funderburgh and the Rockets - Goin' Away from She Knocks Me Out 1985 (3:52)Kid Andersen - Bald Headed Woman from Rock Awhile 2004 (3:21)Ten Years After - Stoned Woman from Ssssh 1969 (3:30)Bill Wyman's Rhythm Kings - Streamline Woman from Groovin' 2000 (2:54)Cousin Joe & Sam Price Trio - beggin' woman [1947] from Out Came The Blues 1964 (2:51)Brian Fraser Trio - No One's Coming Home from Passing The Time (4:28)David Herzhaft - NYC Groove from Jazzin' Around 2007 (5:38)Marvin Pontiac - No Kids from Legendary Marvin Pontiac 2000 (3:05)Lisa Cee - Cold Hearted Woman from My Turn 2012 (2:59)Bobby Radcliff - Mail Order Woman from Universal Blues 1991 (3:48)Watermelon Slim & The Workers - Juke Joint Woman from Watermelon Slim & the Workers 2006 (5:00)

A simple technique to add in some melodic chromaticism to your jazz lines.Full length lessons available at:OpenStudioNetwork.com See acast.com/privacy for privacy and opt-out information.

The most awaited podcast topic of all: chromaticism! Jazz guitarists are always curious about jazz lines with a chromatic flow. How can we achieve such a technical level of "out playing" while still remain true to the chord changes? Listen to this podcast for M-A's best advice on the topic! This podcast originally appeared on the blog here: https://www.jazzguitarlessons.net/blog/podcast-4-adding-chromaticism-to-your-lines