Basic Music Vocabulary Genome - December 21, 2012: With New Prologue

Prologue 
(of December, 2012)

I'm giving you the complete fundamental set of genes contained in the basic cell of the Major/Minor Diatonic musical vocabulary, and how to practice and  internalize it; how to make it your personal store of musical building blocks.  You can hear and copy and practice many licks of your own, but they will all be forms of bits of the materials I offer here.

You can copy licks you like from the greats and practice them in every key, and this is a very good thing, for when you play these 'licks', they will sound the way you 'hear' them, and that's not a copy, but your own innovation.  The building blocks of the 'licks' will again be found in this information on 'basic vocabulary'.  All unique, original material is derived from the fundamentals, then using your creative processes, transformed into your unique way of hearing.  This is always your own and original, as long as you've internalized the 'basic vocabulary' and submerged it into your subconscious pool.  The  
way you express the vocabulary will depend on the intensity with which you're hearing in the present moment as you perform and on "the vividness of your aural imagination"---and on the technical processes (I will soon be posting an essay/blog on what processes are and how to develop them) you've developed in long hours of practice. 

Good luck in developing your destiny.
Errol Weiss Schlabach December 22, 2012  

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     For years, I’ve been a compulsive practicer, attempting to acquire ability in as much of the musical vocabulary as time permitted.  ---Ahh, the RUB!: “as time permitted”.

     Of course, the combinations for those 12 pitches of the chromatic are endless and no one can hope to cover all musical vocabulary, no matter how much time you are allowed.  But over the last year I have developed a system, whereby in 12 days, in about an hour a day, you can literally cover just about every arpeggio and scale that you well encounter in any situation, be it in the written literature, or in improvising over a  harmonic situation.

As Betty Davis said seventy years ago: “get ready for a bumpy ride”, for learning to improvise is just that: BUMPY !!!!

Oh but SO rewarding.

As you become more and more able to control the MATERIALS of musical vocabulary, the power of that ability becomes exstatic, and all in life seems possible.

This elixir can be so enticing, that itmust be handled with care. as examples as Miles and Gerry mulligan prove the precauticion.

Enough of my poetics!!
On to the practice routine:

u now have all the basic raw material for just about any tonal music ever written, or yet to be written.  As you begin  this study, the first thing

to do is make sure you can play all of the scales and arpeggios from memory, for this is essential to using your vocabulary spontaneously.

I believe the best way to do this  is take one note of the chromatic scale for

the days practice and play all the 14 arpeggios and 14 scales from that note, as I have done from  ‘C’ in the above examples.  In 12 days you will have played virtually all arpeggios and scales that you will normally encounter.

Please leave your comments on how you like, or dislike my words, warnings, and expressions of joy at learning the vocabulary of MUSIC!!!!

Sincerely,

Errol Weiss Schlabach

(genomemeuzik1942.blogspot.com)