In this lesson we'll break our tonal five finger drills out of their original tonal context and learn to create them anywhere on the piano keyboard.
I've heard so many great things about IFR. Is it necessary for me to read sheet music to understand the concepts in your book?
A trumpet student asks whether he can begin IFR right away, or whether he needs to first develop a certain level of technical proficiency on his instrument.
Building on the skills you learned in Ear Training for Musical Creativity, in this course you will learn to how to recognize chords by ear so that you can play and improvise over songs without having to ask what the chords are.
Sometimes when you are soloing, it's easy to see the notes immediately surrounding you but it's hard to picture instantly a note that's farther away. In this video I show you how you can learn to visualize larger intervals on the fretboard.
In this video you'll learn the most important technique for recognizing songs and melodies by ear. The technique is to focus on the path that the melody traces through the overall key of the music.
Today we will transform our "tonal five finger drills" into a technique for playing triads, and we'll practice playing all seven chords of the major scale in every key.
Are the seven harmonic environments that we're studying in IFR Exercise 2 the same thing as the “modes”?
I am wondering if there is a "method" for using the major scale in a melodic way rather than playing the scale notes randomly?
When you're studying the notes of a chord, should you be thinking relative to the key (e.g. "note 1 in the 6 chord")? Or should you be thinking relative to the chord (e.g. "the flatted 3rd of the 6 chord")?