jordan rudess tutorial tecniques
TRANSCRIPT
-25'$1�58'(66�78725,$/�7(&1,48(6�&203,/('�%<�0$5,2�$55,$*$��PDULRYDQGRSSOHU#KRWPDLO�FRP��
/($'�7(&+1,48(6�����
Notes for playing lead are based on the %OXHV�6FDOH��/($'�7(&+1,48(6�����
D blues scale going up & down
/($'�7(&+1,48(6�����
Pitch-bending: from the 4th to the 5th. Play and hold the 4th andbend it to the 5th. Release the bend gradually to the originalposition to return to the 4th
/($'�7(&+1,48(6�����
"Playing around" with the 4th and the flatted-5th to achieve tension.Use the pitch wheel instead of of a mod. wheel to make the vibrato
/($'�7(&+1,48(6�����
Bending from the 4th to the flat-5th
Bending from the 4th to the Perfect 5th
A Comparison
/($'�7(&+1,48(6�����
Bending from the 7th to the Octave
�
/($'�7(&+1,48(6�����
"Jan-Hammer" bend (exercise)
/($'�7(&+1,48(6�����
Bend into the 7th from the 6th. Use the 6th primarily for bending
/($'�7(&+1,48(6�����
The 2nd bending into the 3rd
+$5021<�$1'�92,&(�/($',1*����
Close Voice-Leading (C-Am-F)
+$5021<�$1'�92,&(�/($',1*����
Close Voice-Leading (Exercise)
+$5021<�$1'�92,&(�/($',1*����
Close Voice-Leading, Exercise starting on first-inversion C
�
+$5021<�$1'�92,&(�/($',1*����
Accompaniment Patterns
+$5021<�$1'�92,&(�/($',1*����
Major Chords over Altered-Bass. In Example 1, F changes to C-Majorchord, but the F root is kept, creating the major-9th dissonancebetween the bass and the G-note. In Example 2,
Bb-chord is combinedwith the Eb octave in the bass instead of a Bb bass (thus, Eb is anDOWHUHG bass)
+$5021<�$1'�92,&(�/($',1*����
Major Chords over Altered-Bass - possible combinations in the key ofF
+$5021<�$1'�92,&(�/($',1*����
6XV�&KRUGV� comprised of the root, the 4th, and the 5th of thescale
+$5021<�$1'�92,&(�/($',1*����
Sus-Chords, Inversions
,03529,6,1*�0(/2',(6�����
Dm Scale is the relative minor of F-Major
�,03529,6,1*�0(/2',(6�����
Groove used in the example (F-C/E-Dm-Bb)
,03529,6,1*�0(/2',(6�����
Also use the "relative-minor" blues scale (D Blues Scale)
,03529,6,1*�0(/2',(6�����
Sliding from the 4th to the 5th (Example 1), from the 7th to the 8th(Example 2)
&216758&7,1*�7+(�%$66�/,1(����
The Octave Interval (top). Sample groove utilizing the octave(bottom)
�&216758&7,1*�7+(�%$66�/,1(����
The 5th Interval (top). Sample bass-line using primarily the fifthand the octave (bottom)
&216758&7,1*�7+(�%$66�/,1(����
The 7th Interval (top). Sample bass-line using the 7th, 5th, and theoctave (bottom)
&216758&7,1*�7+(�%$66�/,1(����
The Pentatonic Scale in E
&216758&7,1*�7+(�%$66�/,1(����
Sample Bass Patterns. The bottom example also uses the 3rd and the4th from the Pentatonic scale
�,1'(3(1'(1&(�2)�7+(�+$1'6����
Setting the bass pattern. Play the pattern VORZO\�DQG�VWHDGLO\
,1'(3(1'(1&(�2)�7+(�+$1'6����
Sample melody improvised over the the same bass-pattern. Melody isused in a VFDOXODU�IDVKLRQ
,1'(3(1'(1&(�2)�7+(�+$1'6����
Another melody improvised over the same bass-pattern
�
,1'(3(1'(1&(�2)�7+(�+$1'6����
A new melody over a different bass-pattern
,1'(3(1'(1&(�2)�7+(�+$1'6����
Other patterns you may try for your exercise at home
�
,1'(3(1'(1&(�2)�7+(�+$1'6����
A sample pattern in 7/8, to be used in your independence-of-the-handsexercise
�
%8,/',1*�),1*(5�675(1*7+�� ��
Hanon Exercise
�
%8,/',1*�),1*(5�675(1*7+�� ��
Hanon Exercise, little finger accented
%8,/',1*�),1*(5�675(1*7+�� ��([HUFLVH��
([HUFLVH��
Applying the Rhythm Method to the finger exercises (3/4 and 4/4)
%8,/',1*�),1*(5�675(1*7+�� ��
Rhythm Method, using 5th, 4th, and 3rd fingers
�
%8,/',1*�),1*(5�675(1*7+�� ��
Rhythm Method, in 5/8
%8,/',1*�),1*(5�675(1*7+�� ��
Rhythm Method, in 7/8
�
%8,/',1*�),1*(5�675(1*7+�� ��
Rhythm Method in 4/4, with the Bass
%8,/',1*�),1*(5�675(1*7+�� ��
Brahms Exercise (chromatic)
�
%8,/',1*�),1*(5�675(1*7+�� ��
Brahms Exercise combined with Jordan’s contraction/expansion concept
�
%8,/',1*�),1*(5�675(1*7+�� ���
The previous exercise in mirror-image
�
%8,/',1*�),1*(5�675(1*7+�� ���
"Shortening-Bread" Exercise
�
%8,/',1*�),1*(5�675(1*7+�� ���
Phillips Execise (Finger-Pedaling)