Part 1
Do you know you can play on one key, but have the mindset of playing on four other keys? That is, playing a progression using the mindset of five different keys.
How is that possible?
Simple! By understanding the power which the knowledge of Patterns gives, the options in your playing become endless. You know, playing by ear is just a case of having varied options, and not being tied down to ‘textbook movements’ or scores. So in this case, playing on one key but exhibiting the skill of playing on four or more different keys at the same time has to do with the ability to harness the power of Patterns. In music, Patterns rule [my opinion], because that’s what forms songs in our hierarchal placement of the 5 systems. After you know how to build your chords, you must know how to use them.
So, using the common patterns:
7-3-6 on the key of C is a
3-6-2 on the key of G, which is a
6-2-5 on the key of D, which is also a
2-5-1 on the key of A, which turns out to be a
5-1-4 on the key of E
How is that possible?
Simple! By understanding the power which the knowledge of Patterns gives, the options in your playing become endless. You know, playing by ear is just a case of having varied options, and not being tied down to ‘textbook movements’ or scores. So in this case, playing on one key but exhibiting the skill of playing on four or more different keys at the same time has to do with the ability to harness the power of Patterns. In music, Patterns rule [my opinion], because that’s what forms songs in our hierarchal placement of the 5 systems. After you know how to build your chords, you must know how to use them.
So, using the common patterns:
7-3-6 on the key of C is a
3-6-2 on the key of G, which is a
6-2-5 on the key of D, which is also a
2-5-1 on the key of A, which turns out to be a
5-1-4 on the key of E
So here we see that in our circle of fifths, following any 5 keys clockwise on the circle will give us a connection that unites each of these individual keys. And that is just the beginning. But this gets quirky up the line.
The relationship among the family members here gets somewhat selective. The 7-3-6, 3-6-2, and 6-2-5 [2-5-1 in most cases] will share the same chord placements. The other patterns will create a dissonance so beautiful you’d want to use them always [That’s when you don’t change the chords]. So in case point:
7-3-6 (common and advanced progression):
The relationship among the family members here gets somewhat selective. The 7-3-6, 3-6-2, and 6-2-5 [2-5-1 in most cases] will share the same chord placements. The other patterns will create a dissonance so beautiful you’d want to use them always [That’s when you don’t change the chords]. So in case point:
7-3-6 (common and advanced progression):
6
Remember, 7-3-6 on the key of C is a
3-6-2 on the key of G, which is a
6-2-5 on the key of D, which is also a
2-5-1 on the key of A, which turns out to be a
5-1-4 on the key of E
Using the same chords, but with the mindset of playing on five different keys. Now there is a technique here, if you actually play as if you were on another keys progression [i.e. 5-1-4 of E over the 7-3-6 of C], men what a chord. That is, on the 4 on E (6 on C), you interchange the G & C for G# and C#.
3-6-2 on the key of G, which is a
6-2-5 on the key of D, which is also a
2-5-1 on the key of A, which turns out to be a
5-1-4 on the key of E
Using the same chords, but with the mindset of playing on five different keys. Now there is a technique here, if you actually play as if you were on another keys progression [i.e. 5-1-4 of E over the 7-3-6 of C], men what a chord. That is, on the 4 on E (6 on C), you interchange the G & C for G# and C#.
Crazy isn’t it?
See you in the next part.
See you in the next part.