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As you know from this past lesson, a dyad is a 2-note combination.
People still debate over whether it should officially be called a “chord” or if it’s just an interval. (Those who want to keep it just an “interval” believe that chords start at three or more notes).
But who cares what you think of them as — they can enhance your playing! :-)
Most people just classify chords by name and chord quality (major vs minor, augmented vs diminished). But today, I want to show you another world. Here’s how to think of chords by the number of notes they contain. This will be short and to the point.
Lately, we’ve been talking about power chords, tritones, and substitutions.
Today, I want to show you how to use tritones and minor chords to form crazy-sounding dominant ninth chords.
Wait! I know you’re thinking… “whoa, big words.”
But let me assure you that this concept is very easy to understand. Maybe you’ve heard of it. Perhaps you’ve seen these words thrown around forums. Well, I’m finally going to demystify tritone substitutions for you…
In this post, I’m going to break down the main movements in James Wrubel’s “12 Bar Blues” video lesson. If you’ve always wanted to learn how to play blues, now’s your chance!
Lately, there’s been a lot of talk about this so-called gospel musicians’ “secret.” In fact, this “secret” is suppose to be the ONE thing that connects every “big name” gospel musician together. They all know what it is. Heck, they’ve even learned how to manipulate it so much that it can literally evoke any kind of emotion when used properly.
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