![]() ![]() The exercise is described starting on p 186 of the IFR book. Start with just one melody note per bar, then 2 notes, etc. This will develop your ear to the harmonic possibilities of these kinds of tunes. Start with just small sections (2 bars, then 4 bars). I gave some thought to what I’d do if I were in your shoes, and here’s what I came up with…ĭo the MELODY PATHS exercise over the Scottish tunes. So, any ideas of what IFR methods/materials I can utilise and apply to my practice of this type of music? I’m exploring accompaniment with my guitar, and to help here I’m working through Pure Harmony lessons to enhance my chord knowledge. IFR has been great with this, and I can now attend sessions and play along. The music is taught by ear, and we try to stay away from notation and play from memory. I practice with Sing the Numbers regularly, and this helped develop my ear. My question is, what IFR materials can I use to help my understanding and practice of traditional (celtic) music? Perfect for exploring these worlds with the IFR method. Its described as modal, with many tunes using either mixolydian, dorian or aeolian scales as well as ionian. This type of music is quite simple but presents its own challenges. And yes I have dabbled with piping as well! MIDI 2.I love Scottish traditional music, and some Irish, but mainly Scottish, and I’ve been appliying my IFR skills to learning and enjoying my simple system flute and recently my tenor guitar. Sequencing learning modules: nonlinear learning pathways Training à la “Building Blocks” (Audible Genius) LinnStrument-like controller with chromatic rows in fourths “Pianoroll” and TUBS as alternatives to staff notation Tutorial mode (as “crutch”) to Open World and Free Jazz with automatic shifting of chords to fit what’s playedĬybersecurity on access, confidentiality, integrityįleeting moment, disappearing content, modular rig, no posterity Non-Jazz approaches, including xenharmonic improvising (EDO or not)Ĭlassifying sounds/instruments, functionally (from drums/rhythm and chords/pads/keys and bass and lead to…) (While listening to Figma interview on Decoder)įrom top notes to full melody to ornementation, à la Irish traditional musicĭiverse répertoire including “World Music” Identifying ii-V-I and other chord patternsįull scale database with Forte numbers and chord/scale compatibilityĭesign insight: from paper prototype to fully-produced track with lots of improv in the middle Moving from diatonic to ii-V-I progressions Visualization track sending to separate monitor, allowing for recording Metadata per “song”, track, with versioning and Linked Open Data Identifying riffs, motifs, patterns, quotes… with repetition and transpositionĮxercise/drill with numbered patterns (in fourths, minor thirds, chromatically, in whole steps… modulated across scales)ĭrum patterns with fills, suggestions, responses, following established pattern (à la Logic Pro), sidechaining Generating chord progressions, with voice leadingĭynamic scale quantizer based on scale/chord compatibilityĭiverse chord voicing, including some based on basic acousticsĮxpressive instruments and voice-like expression ![]() Semi-generative basslines (from elaborate arpeggiator to continuous learning) Identify chord tones, passing tones, off-scale with both colour and shapeĬhord/scale visibility along the way: making available, taking away the “crutch” at the appropriate time Some implementation details, along the way (to be classified in order of feasability later)… Necessary AI hype: like musicians playing with you, responding to what you play, proposing new ideas, adapting as you go along, developing a bond, inspiring you, occasionally coaching you, understanding what you mean ![]() Norman’s Law of EdTech convergence: any sufficiently elaborate tool will take on properties of a DAW Kludgy workaround (Design Thinking’s skateboard): Sync through MIDI? Ultimate Jazz Improv solution: from training to performance and recording, even analysis ![]()
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