jordan rudess tutorial tecniques

21
-25’$158’(6678725,$/7(&1,48(6 &203,/(’%<0$5,2$55,$*$PDULRYDQGRSSOHU#KRWPDLOFRP /($’7(&+1,48(6 Notes for playing lead are based on the %OXHV6FDOH /($’7(&+1,48(6 D blues scale going up & down /($’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 4 th

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Page 1: Jordan Rudess Tutorial Tecniques

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Notes for playing lead are based on the %OXHV�6FDOH��/($'�7(&+1,48(6�����

D blues scale going up & down

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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

Page 2: Jordan Rudess Tutorial Tecniques

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"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

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Bending from the 4th to the flat-5th

Bending from the 4th to the Perfect 5th

A Comparison

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Bending from the 7th to the Octave

Page 3: Jordan Rudess Tutorial Tecniques

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"Jan-Hammer" bend (exercise)

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Bend into the 7th from the 6th. Use the 6th primarily for bending

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The 2nd bending into the 3rd

Page 4: Jordan Rudess Tutorial Tecniques

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Close Voice-Leading (C-Am-F)

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Close Voice-Leading (Exercise)

Page 5: Jordan Rudess Tutorial Tecniques

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Close Voice-Leading, Exercise starting on first-inversion C

Page 6: Jordan Rudess Tutorial Tecniques

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Accompaniment Patterns

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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)

Page 7: Jordan Rudess Tutorial Tecniques

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Major Chords over Altered-Bass - possible combinations in the key ofF

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6XV�&KRUGV� comprised of the root, the 4th, and the 5th of thescale

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Sus-Chords, Inversions

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Dm Scale is the relative minor of F-Major

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Page 8: Jordan Rudess Tutorial Tecniques

Groove used in the example (F-C/E-Dm-Bb)

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Also use the "relative-minor" blues scale (D Blues Scale)

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Sliding from the 4th to the 5th (Example 1), from the 7th to the 8th(Example 2)

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The Octave Interval (top). Sample groove utilizing the octave(bottom)

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Page 9: Jordan Rudess Tutorial Tecniques

The 5th Interval (top). Sample bass-line using primarily the fifthand the octave (bottom)

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The 7th Interval (top). Sample bass-line using the 7th, 5th, and theoctave (bottom)

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The Pentatonic Scale in E

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Sample Bass Patterns. The bottom example also uses the 3rd and the4th from the Pentatonic scale

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Page 10: Jordan Rudess Tutorial Tecniques

Setting the bass pattern. Play the pattern VORZO\�DQG�VWHDGLO\

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Sample melody improvised over the the same bass-pattern. Melody isused in a VFDOXODU�IDVKLRQ

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Another melody improvised over the same bass-pattern

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Page 11: Jordan Rudess Tutorial Tecniques

A new melody over a different bass-pattern

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Other patterns you may try for your exercise at home

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Page 12: Jordan Rudess Tutorial Tecniques

A sample pattern in 7/8, to be used in your independence-of-the-handsexercise

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Page 13: Jordan Rudess Tutorial Tecniques

Hanon Exercise

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Page 14: Jordan Rudess Tutorial Tecniques

Hanon Exercise, little finger accented

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Applying the Rhythm Method to the finger exercises (3/4 and 4/4)

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Rhythm Method, using 5th, 4th, and 3rd fingers

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Page 15: Jordan Rudess Tutorial Tecniques

Rhythm Method, in 5/8

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Rhythm Method, in 7/8

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Page 16: Jordan Rudess Tutorial Tecniques

Rhythm Method in 4/4, with the Bass

Page 17: Jordan Rudess Tutorial Tecniques

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Brahms Exercise (chromatic)

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Page 18: Jordan Rudess Tutorial Tecniques

Brahms Exercise combined with Jordan’s contraction/expansion concept

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Page 19: Jordan Rudess Tutorial Tecniques

The previous exercise in mirror-image

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Page 20: Jordan Rudess Tutorial Tecniques

"Shortening-Bread" Exercise

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Page 21: Jordan Rudess Tutorial Tecniques

Phillips Execise (Finger-Pedaling)