Over 1800 pages of
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Lesson Code: MLRMA08
Published: December 31, 1969
Updated: December 31, 1969
A substitution is when a chord replaces or is used in addition to an existing chord.
Chords can have a active or passive quality to them. Active chords tend to be restless and want to move on to other chords. Passive chords tend to offer a feeling of rest and resolution. This cycle of active and passive chords are what gives chord progressions their feeling of movement.
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Lesson Code: ML04
Published: December 31, 1969
Updated: December 31, 1969
Cut Time is a source of confusion for many musicians. What exactly does it mean and how do you apply it?
Too often cut time is thought of as having two beats in a measure. There are not two beats in a measure of cut time - there are four beats in a measure of cut time. So what makes cut time any different than common time 4/4 time?
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An Enharmonic Equivalent is where a musical pitch can have different names depending on the context in which it is functioning. An example is G# produces the same pitch as Ab.
Enharmonic equivalents will sound the same but are notated differently using standard music notation.
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Common and not so common music terms.
Knowing the language and terms used with music aides in your own understanding when exploring your music potential.
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Lesson Code: MLRMA09
Published: December 31, 1969
Updated: December 31, 1969
Harmonic Analysis is the understanding of the functional sequence of chords. It is the process used to analyze the harmonic structure of a progression, song or composition. This analysis is then used to make scale selections for improvisation and chord substitution. This lesson covers the Full Diatonic harmonic principle..
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Lesson Code: UL18
Published: December 31, 1969
Updated: December 31, 1969
Sequences and cycles for practicing scales, intervals, melodic sequences and arpeggios.
These sequences also help in learning where any interval is of a given note, the chord tones of chords and aides in memorizing scales.
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Lesson Code: UL450
Published: December 31, 1969
Updated: December 31, 1969
For music and learning an instrument like the ukulele or guitar, it's all about the making the connection between the Mind, Hands and Ear.
When listening to music, we enjoy it at the tempo the composer or artist intended, in real time. Only the ear is involved in listening. This is passive listening and enjoying the music. This is what we do everyday. It's what draws us to want to learn a musical instrument.
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Lesson Code: UL31b
Published: December 31, 1969
Updated: December 31, 1969
An interval is the distance between two notes. An interval has a name and a type.
Chromatic Intervals are NOT taken from a major scale. They are derived from the diatonic intervals.
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Lesson Code: UL31c
Published: December 31, 1969
Updated: December 31, 1969
Inverting intervals using the Rule of Nine.
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An interval is the distance between two notes. An interval has a name and a type. They can be played melodically or harmonically.
Simple Diatonic Intervals are taken from a major scale.
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Lesson Code: UL110
Published: December 31, 1969
Updated: December 31, 1969
A scale and mode can contain exactly the same notes. So when it is a scale and when is it a mode?
This lesson explores the content that determine when a scale is a mode.
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“A strum is the execution of a rhythmic pattern — in a specific style”
One of the first skills a ukulele player learns is the art and craft of strumming, playing rhythm. This refers to an accompaniment technique suitable for the singer, singer - songwriter or someone who plays a support role for another instrument.
Strumming requires a specific set of skills. They are: 1) Memorization of chords 2) The ability to switch chords smoothly and 3) The ability to choose and execute a suitable rhythmic strum. It is this 3rd skill that is our focus in “A Guide to Ukulele Strums & Rhythmic Patterns”.
Though strumming looks natural to the casual observer, it is anything but natural to the beginning ukulele player. Even experienced players have difficulty in identifying and executing certain strums. Though this is one of those topics that is typically taken for granted, there is much to learn about rhythmic feels, accents, dynamics, strum direction, feel, percussive accents, idiomatic styles and tempo variation.
First and foremost, the subject of strumming is inseparably linked to rhythm. Though an ability to read rhythm is helpful, it’s not necessary to profit from this material.
Content is always being added and updated. So check-in often. Thanks, Curt
P.S. You may think from the look of it that Curt Sheller Publications is a slick, profitable business, but it's actually not (maybe a car payment a month, cheap car). I spend a lot and time money creating the content, lessons and books for this site (a labor of love), so if you dig my content and want to see more of it. I could use your help by spreading the word and maybe buying a book or two if you haven't already, to help defray the cost of running the site. Thanks in advance for your help. This is a labor of love and I'd do it even if I didn't make a lot of money, hey I don't!
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