The Whole-Tone Truth, and Nothing But…Part II
Hopefully anyone that is viewing this has familiarized themselves with the first part of this lesson. It is very important to have mastered the two-handed whole-tone patterns I explained last time, as well as learned the basics of enharmonic language pertaining to these scales.
Our first lick utilizes the same idea of alternating hands from the first lesson, as well as the same version of a whole-tone scale from example 1 of The Whole-tone Truth Part 1. This time we'll perform a predominately-descending run, with a slight twist, then turn it around and ascend with some slight misdirection between the hands. Pay close attention to the LH (left hand) and RH (right hand) markings, as well as their individual fingerings:
Now Lick #2 is a big run with the D flat whole-tone scale; pretty much standard fare at this point. Just watch out for the accidental at the beginning of measure 2, the switches of time divisions between triplets, sixteenths, and quintuplets, and the flashy left hand crossing over a right hand cluster at the end of the piece:
To be continued…Part III will be one massive run, so practice up with lessons I and II!!
Jimmy Pitts has performed and/or composed for Scholomance, Super String Theory, and Spastic Ink, among many other bands and projects. Currently, he is a member of The Fractured Dimension and S.K. Krow, and recently scored an interactive dvd-rom entitled Darkstar. His immediate plans also include an instructional video focusing on complex rhythmic and theoretical ideas, as applied to modern progressive music, which should see the light of day in mid-late 2007.