So, here is more work on
augmented triads and seventh
chords than you ever would want.
[LAUGH] Before and
perhaps even after this.
This is gonna be a fair amount,
which is cool.
It's not that hard certainly in concept,
being the fact that
the triads are, Just like a major triad.
The root, third, the fifth however
is the one different note.
It's a half step higher, augmented.
It's one half step higher than it
would be, or it's a sharp five,
a half step higher than it would be
on our major or dominant triads.
So as far as the triads are concerned.
It again falls into that category of
that one little difference making it
a little more challenging to play.
So the scale that corresponds
with our augmented triad and
seventh chords is a whole tone scale.
So a little different.
It's a different family than
our usual major, minor, and
dominant lowest for that matter.
So it's what we would
call a symmetrical scale.
Okay all every note is a whole step apart.
So what I just played there was a C whole
one note shorter than a regular seven,
eight note scale if you
include the octave.
So be aware of that.you see
augmented chords quite a lot.
And the arpeggio, both the triad and
the seventh chord are very important,
indeed, to practice.
So let's do just that, shall we?
So you, on your lessons you're
gonna be able to see the PDFs.
That you've downloaded in this school.
If you downloaded all the PDFs your
gonna have chopped down half a tree.
We got all kinds of stuff for you.
Growing all the time, so make sure you've
got plenty of paper in your printer.
Because your gonna be using it.
these we're gonna use my metronome.
Okay, I wanna practice what I preach.
Always preach that you wanna use
your metronome as soon as possible.
Now, bear in mind that whenever you're
practicing anything, any kind of exercise,
and believe me, when I work on
things Also when I'm practicing
something, before I turn on the metronome
I'm going to work it out and make sure
I'm cool from one note to the next, make
sure I've got all the notes right and that
because if something is difficult for you
no matter what level you are playing at,
you know, you want to first make sure
you've got it, you know, got it.
Down enough to play it in tempo.
No matter what that tempo is.
With these if these presented
a challenge to you.
Which they will.
They're kind of hard now.
We're stepping up a little bit.
Go ahead and
play through them on your own.
Note by note whatever if they are less
familiar then fire up that metronome and
go for it.
But I can't stress that the importance
of using a metronome too much.
So we're gonna start by playing the
augmenting triads now with our metronome.
I've got the metronome set at 100.
But that's 100 As if
the eighth notes were a beat.
It's written in eighth notes and
its actually sometime better to
or put the metronome twice as fast
if you're playing eighth notes
rather than if we we're playing it at 50
beats per minute there would be a long
distance between each beat, and
it would be harder to Lock in every beat.
So I've got the metronome set at 100,
we're playing actually
the eighth notes at 100.
It will become very obvious
once we start doing it.
So, again, now, this is the tempo
that I'm gonna play at and you're welcome
to play with me, I encourage it obviously.
But if this is a little bit too quick for
you, then certainly play it on your own
At whatever tempo, it doesn't matter,
cuz you can't play anything too slowly.
We're gaining a much cleaner,
better technique by
playing in control than we are if we're
constantly pushing the tempo a bit faster
than what may be comfortable to play.
So control, control, and
the third thing Control.
So here we go.
We're going to play the augmented
triads at 100 beats per minute and
again got it it set so
there's a click on every eighth note.
For us alto and baritone players,
we're gonna start on the first bar in C.
And for you tenor and soprano players,
you're gonna start on
the falling bar on the F augmented
triad so we can play in unison, okay?
Okay, so here's our metronome.
it's going to be ba da da da da da dum.
Of course it's gonna be augmented
instead of whatever I just sang.
So here we go, ready?
One, and two, and ready, and go.
I mean, hopefully that's not too quick.
It might be, no problem.
In fact, this time I'm gonna
play a little teenie bit slower.
I'm gonna take it down
to 90 beats per minute.
Again these are beats
on every eighth note.
So it's actually at 45 beats per
minute in terms of quarter notes.
Cool sounding triad, right?
It's a sound that we use a lot on,
you can use it on altered
dominant chords on all kinds of different
levels, augmented chords obviously.
But it's a very, very cool sound.
We'll talk about superimposing
different chord types over Chords
that you perhaps wouldn't have
thought you could super impose.
This cord over these
different types actually.
So let's try it one more time To round
out the exercise a little bit more,
let's do this.
We're gonna be talking a lot,
I'm gonna be talking a lot in my school,
about varying up the articulation.
So let's change things up, shall we?
Let's play all these notes staccato.
Know this that whether you're practicing
something, whether it's a scale, and
And you get that scale down, or
in this case, a triad arpeggio down.
By changing up the articulation.
By doing what we're about to do,
I've been playing every note long.
But by changing it up, now playing it
short, or doing some sort of combination.
Two long, two short.
Two slurred, two staccato.
One staccato three slurred.
Three staccato, one long.
That creates a whole new
technical challenge and
a whole new beneficial exercise.
That's really, really great.
For that reason, again,
I've said in my school quite a lot,
you've heard it before, Hear it again.
That how you practice something is
more important than what you practice.
How you practice is more
important than what you practice.
Because in this exercise you can
play this, this triadic exercise,
in five different
articulation combinations and
it's like five different
things that you're practicing.
So really, really,
Great thing to be thinking about,
to change up that articulation.
That way when you get to reading something
that has a figure that you're used
to playing but an articulation that you're
not you won't be caught in that problem,
you'll be used to playing
Play in as many different
as you can think of.
So there you go,
that's my articulation spiel for the day.
Right on, so
this is gonna be a little slower and we're
gonna staccato each one of these notes.
Make sure that you're playing every note
right with the metronome, that's the goal.
You probably won't play every
single one right with it.
Neither will I but that's our goal,
that's our intention, so, have at it.
Again, reiterate Alto's baritones
start on C at the beginning,
tenors, sopranos, start on this
following bar, on the F chord.
Okay here we go we'll see how this feels.
[SOUND] That's slow but it's good.
It's gonna be very beneficial.
Are you excited?
Here we go.
One, two, three.
It's fun to change up
the articulation on different things.
That is That's the really important
thing of practicing, covering more bases
than just one while you're doing it.
You're working on your time,
you're working on your articulation.
You're working on your theory,
you've got all kinds of things going on
at the same time so
multitasking in practicing is awesome.
Okay, hope you enjoyed that.
Now I'm gonna move forward and
play augmented seventh chords,
these are a little more unusual,
because if you are thinking of them
related to a major seventh chord.
It's the same, except for
two very important points.
The fifth is raised,
just like on the augmented triads.
But the seventh is flatted, why?
Because it follows the pattern of
the whole tone scale that this
seventh chord is based on.
And so the fifth that the root
is obviously unaffected,
the third is natural.
The fifth is sharp and
the seventh is flat.
So you've got all your bases covered,
in terms of accidentals there.
So once again,
we're going to fire up our metronome.
We'll play it at 90.
I think it's a good idea.
A good tempo, actually.
And we'll play these and we'll play
these in an articulation of legato, so
all of your notes will be nice and long.
But you'll be tonguing each one.
So, varying your
articulation is important.
These are definitely tricky I won't lie.
And so if you need to take a moment and
work on these without the metronome,
[INAUDIBLE] metronome, go for it.
And try to get them fairly even.
Get the notes under your fingers.
But again, I can't stress enough
that you can't play these too slow.
No tempo is too slow.
For you no tempo is too slow, for me it's
great to practice nice and slow like this.
Because you gain control
over what you're doing and
you can really hear what you're doing too.
So I'm gonna set the metronome
at 90 beats per minutes,
like I have done on the triads.
And we're gonna play them legato, and
I have the metronome set on eighth notes,
so you hear a click on every eighth note.
So if you were playing these set for
quarter note beats it'd be at 45 BPM,
beats per minute.
But I'm setting it at 90 so
we hear a click on every single note.
And so for us E flat folks,
we're gonna start from the beginning,
the C augmented 7th chord,
and for the B flat folks,
we are going to be starting on the second
bar, on the F augmented 7th chord.
Here we go, ready?
Legato tonguing, 1 2.
How did that feel?
It's cool too because when you play them
a little bit slower it's a bit more of
a work out.
I, towards the very end there, you start,
you feel it in your chops,
you feel it in your embouchure.
And so you're getting yet
another side benefit which is just
the endurance side of our practicing.
the point to of when you're ready to
play it with the metronome, nice and
slow You want to be consistent.
You also want to practice
continuing to move forward, so
that if you make a mistake, keep going.
Forget the mistake,
it's done, it's gone, but
stick with With the tempo and the music.
It's a great training tool.
Because if you're playing in a band and
you make a mistake, what happens?
You don't take the horn out of your mouth
and start swearing and freak out about it.
No, the rest of the band is
continuing to play, right?
So you have to keep going, so
don't worry when you make a mistake.
Try not to make that same
mistake the next time, or
check it out before you play it again.
But get in the habit if you
make a mistake to not let it
make you lose your place, or don't react.
Just keep moving forward.
That's a good one.
Okay, so let's do it again.
Let's vary the articulation
this time one more degree.
And we're gonna play two notes
staccato and two notes legato.
Da da da da da da da.
Da da da da da da da.
Every note is tongued, but
the first two are staccato and
the second two are legato.
So, another variation of articulation,
there are endless combination.
Well I guess there is an end to
the combinations you can come up with but
there are a whole bunch.
So make sure that as you play,
you are coming up with different ideas.
I could have written, you know,
exact articulations on these
exercises I intentionally did not.
Because that way it would have locked
you into a particular articulation.
And much better to come up with different
articulations so that it, you know,
plays along with the whole theory of
trying to change it up all the time.
What you could do,
if you're having trouble
remembering what the articulation is,
like in this one two staccato, two legato,
would be hey you can print these
out a million different times and
write in the articulations if you want to.
Staccato is just a little dot above
each note, and legato Is the line
above each one that indicates that it's
long and smooth but still articulated.
And then, of course,
the accent, or marcato,
is that sideways v with the open sided
v at the beginning of the articulation.
Bam, bam, so
it actually looks the way it would sound
if you had it on some sort of graph.
Okay, so we'll do it one more time.
90 beats per minute A beat
on every eighth note.
What do I need to tell you?
So, two notes staccato, two notes legato.
If you're playing an E flat instrument
you wanna start on the first bar,
on the C augmented seventh.
And if you're playing on a B flat
instrument you wanna start on the second
bar, on the F augmented seventh so
that we play in unison.
Again, If you're practicing on your own,
then everybody can start at
the beginning and we'll be good to go.
[LAUGH] Two short, two long.
One, two, go.
Isn't that cool?
Okay, so if you have any questions, these
are becoming a little bit challenging
the basic session of my school.
So if you're doing a good
job on these kudos to you.
That's really fantastic.
So if you have a question
about these check out my blog,
ask that question I'll
get right back to you.
if you want to send in a video through
our video exchange, I'll be exchanging
that video and send you my response.
So I can check you out,
watch you play, and make comments.
And I'll give you my response, which
is the whole basis of our school here.
Which is very very cool.
All right, thanks so
much for checking these out.
See you on the next one.