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Jordan Rudess Tutorial Tecniques




-25'$158'(6678725,$/7(&1,48(6 &203,/('%<0$5,2$55,$*$ PDULRYDQGRSSOHU#KRWPDLOFRP  /($'7(&+1,48(6 Notes for playing lead are based on the %OXHV6FDOH  /($'7(&+1,48(6 D blues scale going up & down /($'7(&+1,48(6 Pitch-bending: from the 4th to the 5th. Play and hold the 4th andbend it to the 5th. Release the bend gradually to the originalposition to return to the 4th /($'7(&+1,48(6 "Playing around" with the 4th and the flatted-5th to achieve tension.Use the pitch wheel instead of of a mod. wheel to make the vibrato /($'7(&+1,48(6 Bending from the 4th to the flat-5th Bending from the 4th to the Perfect 5th A Comparison /($'7(&+1,48(6 Bending from the 7th to the Octave  /($'7(&+1,48(6 "Jan-Hammer" bend (exercise) /($'7(&+1,48(6 Bend into the 7th from the 6th. Use the 6th primarily for bending /($'7(&+1,48(6 The 2nd bending into the 3rd +$5021<$1'92,&(/($',1* Close Voice-Leading (C-Am-F) +$5021<$1'92,&(/($',1* Close Voice-Leading (Exercise) +$5021<$1'92,&(/($',1* Close Voice-Leading, Exercise starting on first-inversion C  +$5021<$1'92,&(/($',1* Accompaniment Patterns +$5021<$1'92,&(/($',1* Major Chords over Altered-Bass. In Example 1, F changes to C-Majorchord, but the F root is kept, creating the major-9th dissonancebetween the bass and the G-note. In Example 2, Bb-chord is combinedwith the Eb octave in the bass instead of a Bb bass (thus, Eb is anDOWHUHG bass) +$5021<$1'92,&(/($',1* Major Chords over Altered-Bass - possible combinations in the key ofF +$5021<$1'92,&(/($',1* 6XV&KRUGV comprised of the root, the 4th, and the 5th of thescale +$5021<$1'92,&(/($',1* Sus-Chords, Inversions ,03529,6,1*0(/2',(6 Dm Scale is the relative minor of F-Major  ,03529,6,1*0(/2',(6 Groove used in the example (F-C/E-Dm-Bb) ,03529,6,1*0(/2',(6 Also use the "relative-minor" blues scale (D Blues Scale) ,03529,6,1*0(/2',(6 Sliding from the 4th to the 5th (Example 1), from the 7th to the 8th(Example 2) &216758&7,1*7+(%$66/,1( The Octave Interval (top). Sample groove utilizing the octave(bottom)  &216758&7,1*7+(%$66/,1( The 5th Interval (top). Sample bass-line using primarily the fifthand the octave (bottom) &216758&7,1*7+(%$66/,1( The 7th Interval (top). Sample bass-line using the 7th, 5th, and theoctave (bottom) &216758&7,1*7+(%$66/,1( The Pentatonic Scale in E &216758&7,1*7+(%$66/,1( Sample Bass Patterns. The bottom example also uses the 3rd and the4th from the Pentatonic scale  ,1'(3(1'(1&(2)7+(+$1'6 Setting the bass pattern. Play the pattern VORZO\DQGVWHDGLO\ ,1'(3(1'(1&(2)7+(+$1'6 Sample melody improvised over the the same bass-pattern. Melody isused in a VFDOXODU IDVKLRQ ,1'(3(1'(1&(2)7+(+$1'6 Another melody improvised over the same bass-pattern  ,1'(3(1'(1&(2)7+(+$1'6 A new melody over a different bass-pattern ,1'(3(1'(1&(2)7+(+$1'6 Other patterns you may try for your exercise at home  ,1'(3(1'(1&(2)7+(+$1'6 A sample pattern in 7/8, to be used in your independence-of-the-handsexercise  %8,/',1*),1*(5675(1*7+  Hanon Exercise  %8,/',1*),1*(5675(1*7+  Hanon Exercise, little finger accented ([HUFLVH %8,/',1*),1*(5675(1*7+  ([HUFLVH Applying the Rhythm Method to the finger exercises (3/4 and 4/4) %8,/',1*),1*(5675(1*7+  Rhythm Method, using 5th, 4th, and 3rd fingers  %8,/',1*),1*(5675(1*7+  Rhythm Method, in 5/8 %8,/',1*),1*(5675(1*7+  Rhythm Method, in 7/8  %8,/',1*),1*(5675(1*7+  Rhythm Method in 4/4, with the Bass %8,/',1*),1*(5675(1*7+  Brahms Exercise (chromatic)  %8,/',1*),1*(5675(1*7+  Brahms Exercise combined with Jordan’s contraction/expansion concept  %8,/',1*),1*(5675(1*7+  The previous exercise in mirror-image  %8,/',1*),1*(5675(1*7+  "Shortening-Bread" Exercise  %8,/',1*),1*(5675(1*7+  Phillips Execise (Finger-Pedaling)