Course Category: Edge

DENA DEROSE: If You can Sing it, You can Play it! (Edge)

Use singing to gain more lyricism & interesting phrasing in your performance

Modern improv strategies that have shaped Rudresh’s unique & innovative sound/approach

Melodic, harmonic & rhythmic approaches to pin down, process & expand your musical ideas

The Grandmaster returned to the Dojo…

Motivic Development & being Creative while Improvising

Rare chance to extract knowledge from an amazing musician & guitar hero #mindbender

Extract the goods from a true master musician & concise teacher

* What is your music education background?
* How to develop a strong time feel
* Which upper structures do you use for going out?
* If you could only impart one golden nugget, what would it be?
* When improvising across a tune is the key center of the tune part of your harmonic concept?
Even as the changes may be taking you away from it?
* On Foot Tapping (or not)
* Do you keep a study journal to focus?
* Ever get lost and, if so, what do you do?
* How would you describe the concept & execution of jazz feel for an eighth-note line to a student?
* Do you still have a practice routine?

An Introduction to the harmonic colors of Olivier Messiaen

* ORIGINS AND BRIEF OVERVIEW: MODES I – VII
The person / mathematics / nomenclature / the overtone series / tetrachords
* THE MAIN COLOR SOURCES
Mode II, Mode III and „L’Accord sur la Dominante“ (chord on V)
Basic chord rows and chord symbols
* MODE III
Many ways of harmonic and linear orchestration / carnatic scales
* L’Accord sur la Dominante (chord on V), AD
Colorful voicings / the modal principle
* Applying Ollie-Chords to Functional Harmony
T and D / the double role of S / DD etc. / II V I
* OUTLOOK
New colors by combining Mode III and AD with Bebop-Scales

An approach to personalizing melodies that speak to you

* Picking a good melody to harmonize
* Choosing what bass notes are best for that given melody as counterpoint
* Choosing which group of chords fits best to the counterpoint created
* Editing the final version making sure it doesn’t take away from the melody or flow of the song
* Exploring instrumentations that best fit the reharm

Why your ears are the master and music theory is the servant