unit 23 music perf. techniques (guitar) t3

UNIT 23: MUSIC PERFORMANCE TECHNIQUES

TERM 3LEVEL 3 (90 CREDIT) DIPLOMA IN MUSIC

Course materials 2014 - 2015

Functional English skills identified within Unit 23

Key:

Speaking and listening – make a range of contributions to discussions and make effective presentations in a wide range of contexts

Writing – write documents, including extended writing pieces, communicating information, ideas and opinions, effectively and persuasively

Reading – compare, select, read and understand texts and use them to gather information, ideas, arguments and opinions

Unit 23: Music performance session styles

Unit 23: Music perf. session styles

1: Performing Solo (Performance presentation of 3 contrasting pieces)

Speaking and listening – Discussing the group repertoire. P2, M2, D2

2:Practice,Practice, Practice (Rehearsals ,logbook & interview)

Writing: Producing rehearsal diary

Reading: preparing rehearsal diary

Speaking and listening – Discussing the group repertoire.

P1, M1, D1

3: Performing as a Member of a Group (Performance presentation of 3 contrasting pieces)

Speaking and listening – Discussing the group repertoire.

P3, M3, D3

Programme: Level 3 (90 Credit) Diploma in Music Term 3

Unit 23: Music Performance Techniques (Guitar) Week 1

Objectives

To learn the Dorian scale in 2 positions

To learn the Dorian extended arpeggio

Improvisation

The Dorian Mode

The Dorian mode is a scale built on the 2nd

degree of the major scale. Its formula is:

R – 2 – b3 – 4 – 5 – 6 – b7

This formula is more often seen from a chordal point of view which consists in the Dorian extended arpeggio:

R – b3 – 5 – b7 – 9 – 11 – 13

The most important characteristic of the Dorian mode is the Maj 6 (or Maj 13). This note is in fact absent in all

the other ‘minor’ modes of the Major Scale.

Improvisation

In class we’ll discuss how to improvise using the Dorian scale. We’ll see the most common chord progressions

and the most important notes to highlight the characteristics of this mode.

The Dorian Mode

Scale - Pos 1 Scale - Pos 4

Extended Arp – Pos 1 Extended Arp – Pos 4

Improvisation



Objectives

To learn the Aeolian scale in 2 positions

To learn the Aeolian extended arpeggio

Improvisation

The Aeolian Mode

The Aeolian mode is a scale built on the 6th

degree of the major scale and it’s also known as relative Natural Minor

scale. Its formula is:

R – 2 – b3 – 4 – 5 – b6 – b7

This formula is more often seen from a chordal point of view which consists in the Aeolian extended arpeggio:

R – b3 – 5 – b7 – 9 – 11 – b13

One of the most important notes of the Aeolian mode is the Min 6 (or Min 13). This note is in fact the only

difference between the Dorian and Aeolian modes.

Improvisation

In class we’ll discuss how to improvise using the Aeolian scale. We’ll see the most common chord progressions


The Aeolian Mode



Improvisation



Objectives

To learn the Lydian scale in 2 positions

To learn the Lydian extended arpeggio

Improvisation

The Lydian Mode

The Lydian mode is a scale built on the 4th


R – 2 – 3 – #4 – 5 – 6 – 7

This formula is more often seen from a chordal point of view which consists in the Lydian extended arpeggio:

R – 3 – 5 – 7 – 9 – #11 – 13

The most important notes of the Lydian mode is the Aug 4th

(or #11). This note is in fact the only difference

between the Lydian and Ionian (Major Scale) modes.

Improvisation

In class we’ll discuss how to improvise using the Lydian scale. We’ll see the most common chord progressions


The Lydian Mode



Improvisation



Objectives

To learn the Mixolydian scale in 2 positions

To learn the Mixolydian extended arpeggio

Improvisation

The Mixolydian Mode

The Mixolydian mode is a scale built on the 5th


R – 2 – 3 – 4 – 5 – 6 – b7

This formula is more often seen from a chordal point of view which consists in the Mixolydian extended

arpeggio:

R – 3 – 5 – b7 – 9 – 11 – 13

The most important notes of the Mixolydian mode is the Min 7th

(or b7). This note is in fact the only difference

between the Mixolydian and Ionian (Major Scale) modes.

Improvisation

In class we’ll discuss how to improvise using the Mixolydian scale. We’ll see the most common chord

progressions and the most important notes to highlight the characteristics of this mode.

The Mixolydian Mode



Improvisation



Objectives

To learn the Melodic Minor scale in 2 positions

To learn the Melodic Minor extended arpeggio

Improvisation

The Melodic Minor Scale

The Melodic Minor is a minor scale very common in jazz and fusion. Its formula is:

R – 2 – b3 – 4 – 5 – 6 – 7

This formula is more often seen from a chordal point of view which consists in the Melodic Minor extended

arpeggio:

R – b3 – 5 – 7 – 9 – 11 – 13

The most important note of the Melodic Minor is the Maj 7th

. This note is in fact the only difference between the

Melodic Minor and the Dorian mode (which is often associated with).

Improvisation

In class we’ll discuss how to improvise using the Melodic Minor scale. We’ll see the most common chord

progressions and the most important notes to highlight the characteristics of this scale.

The Melodic Minor Scale



Improvisation



Objectives

To learn the Superlocrian mode in 2 positions

To learn the Superlocrian extended arpeggio

Improvisation

The Superlocrian Mode

The Superlocrian mode is probably the most common scale in jazz and fusion. Its theoretical formula is:

R – b2 – b3 – b4 – b5 – b6 – b7

Even if the formula above is correct, in practice the Superlocrian mode is seen in a different way:

R – b2 - #2 – 3 – b5 - #5 – b7

This formula is more often seen from a chordal point of view which consists in the Superlocrian extended

arpeggio:

R – 3 – (b/#) 5 – b7 – (b/#) 9

In practice this is the perfect scale for Dominant Altered chords. The teacher will explain the type of chords you

can use this scale over.

Improvisation

In class we’ll discuss how to improvise using the Superlocrian mode. We’ll see the most common chord


The Supelocrian Mode



Improvisation



Objectives

To learn the Harmonic Minor scale in 2 positions

To learn the Melodic Minor extended arpeggio

Improvisation

The Harmonic Minor Scale

The Harmonic Minor is a minor scale common in Latin and neo-classic metal music. Its formula is:

R – 2 – b3 – 4 – 5 – b6 – 7

This formula is more often seen from a chordal point of view which consists in the Harmonic Minor extended

arpeggio:

R – b3 – 5 – 7 – 9 – 11 – b13

The most important spot of the Harmonic Minor is the min 3rd

interval between the b6 and the 7th

. This creates

such a distinctive sound that makes the scale instantly recognizable.

Improvisation

In class we’ll discuss how to improvise using the Harmonic Minor scale. We’ll see the most common chord

progressions and the most important notes to highlight the characteristics of this scale.

The Harmonic Minor Scale



Improvisation



Objectives

To learn the Phrygian Dominant mode in 2 positions

To learn the Phrygian Dominant extended arpeggio

Improvisation

The Phrygian Dominant Mode

The Phrygian Dominant mode is probably the most common mode is neo-classical metal and it’s a quite

common in Latin music. Its formula is:

R – b2 – 3 – 4 – 5 – b6 – b7

This formula is more often seen from a chordal point of view which consists in the Phrygian Dominant extended

arpeggio:

R – 3 – 5 – b7 – b9 – 11 – b13

Improvisation

In class we’ll discuss how to improvise using the Phrygian Dominant mode. We’ll see the most common chord


The Phrygian Dominant Mode



Improvisation



Objectives

Review

Review

This will be the last week of lesson and we’ll spend the hour doing a review of all the materials learnt in Term 3.

Here below you’ll find a recap of all the topics.

Scale Pos 1 Scale Pos 4 Arp Pos 1 Arp Pos 4

Dorian

Aeolian

Lydian

Mixolydian

Melodic Minor

Superlocrian

Harmonic Minor

Phrygian Dominant

unit 23 music perf. techniques (guitar) t3

Documents