Yes, I’m back! (I’ll explain why I’ve been gone so long in a subsequent post but please come through and comment to let me know you’re still anxious about hearing from me… even though I’ve been gone for a couple of months. I apologize.)

(By the way, thanks for all your support. You have been tremendously supportive on our radio show, the new gospel music training center, our various product launches, etc. I appreciate you).

Well, since I’ve been helping out with e-mails lately (to make sure we keep response times under 1 day), I’ve had an epiphany. Why not take a question a day from the REAL e-mails that come in and elaborate on them? It makes it easier on me because I’m answering that e-mail anyway — now I can simply format it, expand it a little further, and post it on the blog for all to see. Works for you?

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Today’s lesson is real important because it puts together all the stuff we’ve learned in the past few posts. If you haven’t read them, now may be a good time.

This audio lesson gives you a nice little recap and way to apply this altered scale to real chord progressions and songs! Check it out…

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For the past two posts, we’ve been talking about the altered scale.

Now I want to teach you a trick that will have you playing ANY altered scale you want in 3 seconds… that is, if you know your major scales! Here’s the ONE and only rule you need to know…

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I’m back! Things have been so hectic. From the launch of GMTC to server problems and Thanksgiving, I’ve had enough to keep me busy indeed.

But now, my head is clear and I’m ready to go full force!

Recall, the other day, I taught you the altered scale (a.k.a. - the ‘super locrian‘ mode) You’ll really want to check out this past post if you haven’t already. You’ll be lost if you don’t…

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In Friday’s lessons, I talked about the “altered” scale (or super locrian mode) and how you can use it to solo over various altered chords.

Today, I want to talk about another mode you can use to solo or improvise over certain chords.

That mode is called “mixolydian.” (If you didn’t see my last post, it’ll really catch you up).

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In this past lesson, we covered the melodic minor scale. And in this past lesson, we covered the modes of the major scale.

In today’s lesson, we’ll actually combine the two concepts…

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This lesson comes from pages 35 and 36 of the second version of my home study course (it isn’t out yet but I’ve been writing it for like 2.5 years now). Check it out…

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On Friday, I taught you how to look at chords according to the number of notes they have.

This introduced us to names like “tetrads,” “pentads,” “hexads,” “heptads,” and of course, the “triad.” These are names for collection of notes played at the same time (i.e. - “chords”).

Today, I want to talk about the other side of things — the names of collection of notes played one after the other (i.e. - “scales”). And specifically, I want to focus on the tetrachord.

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For the past couple of days, I’ve been stuck on teaching you how to name chords correctly.

Today, I want to shift the focus to scales because I’ve seen many people incorrectly write their major scales. For example, here’s are some common mistakes…

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