• albert879 says:

    Excellent masterclass. Dan Tepfer shows big mastery of the material he’s explaining. So much to learn from here.
    A couple of notes. I’ve been a big fan of Slonimsky’s book for years. I did know that the book is practically a joke, he explains that in the prologue. But I found it useful though, to improvise in some of the modes of the book, transpose some permutations a lot, get deep into the atonal pattern… Dan’s criticism of this book is right on though! The book is just about permutations of twelve notes, and there are more than twelve on many instruments except piano or a vibraphone; and the most important aspect of functions is missing there. I’ll have to check out the Schoenberg book again!
    About being stuck on a modal scale… a teacher who studied in Berklee showed me the Multitonic system as a way to create variety in a modal context..in D dorian, So what combined the harmonies with Ab dorian with fourth structure voicings, or with Bb and F#, or more complex with F, Ab, B dorian. Even with the six notes of the whole tone scale, like McCoy does very quickly, going up in two fourths voicings, D, E, F#, Ab, Bb, C dorian. Again Dan’s approach going back to the tonal function really refreshed my mind, from the phrygian mode to the third degree of a major scale, to get out of “modal jail.” I guess everything goes back and forth from tonal to modal.
    What he said about entonations…I though about flamenco too. The great singers sing between the notes too sometimes. And the harmony moves frequently from the modal, phrygian cadence (Am, G, F, E7b9) to tonal functions, and to extensions of these accords all the time, to create more variety.
    Please do another masterclass about how to play polyphonically, using counterpoint.

  • jeff925 says:

    This practice regimen is such a great workout for the ear-brain. Thanks for sharing it Dan/Falk