On the screen you can see a four-part realization of the Blues for Alice Progression. Using complete, four-part harmonies in root position only. Let me play that realization. [MUSIC] Okay, so obviously that's not very idiomatic. But it's a good starting point to familiarize yourself with these chordal structures and with faster harmonic rhythm. So I'm basically using root position chords. [MUSIC] And obviously by using root positions only, you're not going to create a convincing voice reading. So playing is a practical tip. Being able to play that progression. And this is like a perfect progression to practice your chords and your voice leading and your arpeggiation patterns. Your play and sing activities, because it utilizes both the atonic and chromatic versions. That only chromatic chord progressions, right? So instead of starting on the root position, you should be able to play it in any position. First inversion, only, [MUSIC] First inversion. [MUSIC] And you notice, it's a completely different shape when you play one inversion. Second inversion, [MUSIC] Right. [MUSIC] And so forth. And another thing that you can experiment once you get these structures under your belt, you can experiment with different Charleston rhythms. You can experiment with the metronome. And once you start playing rhythmically, I would strongly encourage you to play with the metronome. In the absence of the live rhythm section, that's a great resource, it's never wrong. Unless your battery goes wrong. But it's never, never wrong. So it's great resource. So you can experiment with different Charleston rhythms. [MUSIC] And notice the way I utilize left hand structure, basically using a whole note and half note in the case of two chords per measure. But the relationship between my Charleston rhythm and my left hand. One, two, three. [MUSIC] See how it anticipates the left hand occurring on the down beat? Listen to this. [MUSIC] See [MUSIC] And of course, being able to play it end of one and two and so forth. [MUSIC] So now when you displace the figure by one-eighth note, the second part will coincide with the left hand. [MUSIC] Okay, and again this always goes on to a two one-fourth. There is a why you should be able to play that progression in different inversions. Is to ultimately create a much better voice reading between chords. So now on the screen you can see the four-part realization of the same progression using mixture of root position chords and inversions. So now let me play that progression. [MUSIC] So now it's much better in terms of voice reading because I'm not jumping around in the keys. But I'm trying to keep as many notes in common as possible and create that kind of parsimonious stepwise voice reading. So my root position E minor 7 goes to the second inversion A7. Root position, second inversion, root position, second inversion. When you start in the first position, first inversion, first inversion. Third inversion, first inversion, third inversion, third inversion and so forth. So there is an underlying logic in the way chords behave and the way chords move in chord progressions. So you may notice there's one thing that I don't like about that realization. And the fact that I'm kind of doubling the root with my right hand. We don't really need that root to be doubled. The note that we don't need, no doubling. So let's eliminate the root from our right hand and create these three note very transparent textures. So instead of kind of heavy laden sonority, we can have a nice four-part texture. Which is very useful for as the comping device for different instrumentalists to go over your chord progressions. So remember, no root doubling. So we're going to create those nice shapes and try to maintain good voice reading. Okay. So listen to this chord progression. One, two, one, two, three, four. [MUSIC] Okay, so as a result of that kind of getting rid of the root from my right hand, we create a texture that is more transparent. And the right hand hovers in the kind of same register and the outer voices. And by outer voices, I mean the top voice of your right hand and the lowest voice of the left hand. Creates that and of satisfying outer voice counterpoint that works independently, kind of dictates the unfolding of the progression. So now as far as ear training drills are concerned, we can use the four methods from the earlier segment that we discussed. So we can play the right hand content while singing the root of the underlying chords. We can play the chordal roots and sing the seventh line. We can play the chordal roots and sing the third line. And we can play the base notes and sing one of the guy tones while playing the remaining note. So all these activities can be done with these progressions. Now I would like to demonstrate one activity that I found extremely useful in the texture with rootless sonorities. That is three voice texture, the harmony is in my right hand. When I play them without the root, they hardly sound major. I mean in fact it sounds more like an A minor chord. It mean in fact it is A minor chord in second inversion without the root. But that's the beauty of rootless formation. If I play A minor, it sounds like an A minor chord. If I play F, it sounds like a major chord. If I play D, it sounds differently. If I play B flat, it changes its harmonic meaning. So what I like to do is to actually sing the root, one, sing the root and play the chord progression. So I will define the status of my right hand. One, one,one, one, one, one one, one, one, one, one, one, one, one, one, one, one, one, one, one. These are some of the activities that you can do. Not only with the blues for artist progression, but also with other tunes that you're working on. A bit more complicated activity that I like very much because it involves kind of arpeggiation. Kind of learning how to linearize your harmonic structures is to use roots. One, one, one, one, one or start in a different position. One, one, one, one, one, one, one. Or even sing the root or and the third of the underlying chords, creating almost like a walking bass line. One, three, one, three, one, three, one, three, one, three, one, three, one, three, one, three, one, three, one, three. One, three, one, three, one, three, one, three, one, three, one, three, one, three, one, three, one, three. One or one and fifth. One, five, one, five, one, five, one, five, one and so forth. So we can do all these kind of activities that will help you to internalize the [INAUDIBLE] much better. And hear the natural tendencies of these notes. So in lecture four, we've examined three classic bebop blues progressions. And demonstrated ways to practice them using different play and sing activities and different keyboard drills. In the next lecture, we will continue to explore blues progressions. But we will leave the Bebop era and move on to the Post Bop period. Thank you.
