How so? He’ mainly focusing on not being “root bound” when you see a chord symbol. Thus, 4-note arpeggios super-imposed have different ‘names’ while still being connected to the underlying ‘named’ tonality.
I'm sorry if it's confusing - I am pre-supposing a good amount of harmonic knowledge, and condensing into a short format. This series probably falls in an intermediate-advanced category. Thanks for watching.
totally baffled!!
How so? He’ mainly focusing on not being “root bound” when you see a chord symbol. Thus, 4-note arpeggios super-imposed have different ‘names’ while still being connected to the underlying ‘named’ tonality.
I'm sorry if it's confusing - I am pre-supposing a good amount of harmonic knowledge, and condensing into a short format. This series probably falls in an intermediate-advanced category. Thanks for watching.
Dave is that a Conn 10m? Also I notice you use the closed fingering for the high E. Why do you prefer that?
Yes early 1940s Conn 10m. I use both the front & the side key fingerings for high E, depending on the logistics of the line I'm playing.
Oh wow, so this is a continuing series. Awesome. But... let's not talk about how often I practised the great exercises from the last video, okay :)
Thank you, I'm glad you're enjoying the videos!