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@stasys · Guitar · Vilnius
composer/musician

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Remark: Major blues scales are considered in the parallel key.… More…

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Classic twelve-bar major blues often use a scale with one (bIII) or three (bIII, bV, and bVII) blues tones (blue notes):… More…

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Remark: in the sixth measure, in the IV degree of the major seventh chord, we introduce a sixth (IV+6) to reduce the dissonance between the seventh and the prime.… More…

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This is the most common form of AABA song in jazz. Also, called “Rhythm changes”. The frequent use of this form in modern music can be compared, perhaps, only with the twelve-bar major blues.… More…

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Most musicians would say that without the blues, jazz would not be jazz. There are a lot of truths in this. I often tell my students that the blues is like the circulation of blood in modern music. It… More…

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arranged by Stasys Daugirdas More…

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Suspensions, sixth chords and alterations diversify the possibilities of the accompaniment. Without changing the basic harmony of the piece, we can increase or decrease the tension of the chord. As the… More…

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http://sena.gitara.lt/pamokos/images/wpe3.gif… More…

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During improvisation, tritone jumps (# 4><b5) are quite common, for example, in the final blues turnaround I + 6 bVIIx VIx bIIIx / II bVIx V bIIx / I + 6 // ... Therefore, this exercise will also be very… More…

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The biggest difference between early jazz styles and Bebop era musicians is that they began to view diatonic tone spacing as a target filled with (chromatic run). This chromatic run is also found in blues… More…

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Chromatic (gr. Chromaticos - "colored"). It is a twelve-tone scale per octave, in contrast to the diatonic seven-tone scale. In other words, the distances between adjacent sounds in the chromatic scale… More…

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Using the Axis 3 and Axis 5 chords in a five-fret mensura (scale), consider the sequences of Harmonic Minor, Melodic (Real) Minor, and Harmonic Major so that you can recognize them in all keys and apply… More…