Week 2: Whole Steps

As the name implies, a whole step is the sum of two half steps.

On the piano, whole steps are every other piano key--any two keys separated by one key.

C to D is a whole step.  C to D is separated by C#

There are 2 progression based on movement by whole step

1.  C - D - E - F# - G# - A# - C

2. Db - Eb - F - G - A - B - C# (or Db)


Let us take some material from last week and apply it to our new Progression - movement by wholestep.

Recall Material #1, Note - down a half step - Note - back up a half step Note -- C - B - C

Material #1, when put through the Progression of movement by whole step, we get the following

C - B - C .... D - C# - D ....  E - D# - E .....  F# - F - F# .... G# - G - G#  ...   A# - A -- A#

as well as

C# - C - C#  ....   Eb - D - Eb ......  F - E - F ..... and so forth


If you are wondering if you can take the retrograde of Material #1 and put it through our new Progression - movement by Whole Step, the answer is YES!

In fact, take all the Material from last week's lesson and put it through the new Progression - movement by whole step.


If one were to listen to 100 hours of Jazz (and I hope you do) you would hear this pattern repeated often:

Note up a whole step Note back down a whole step Note down a half step Note back up a half step

C - D - C - B - C

Yes, very similar to Material #1.  In fact, it is the more used version.  However in later lessons, we will see how it is imperative to know both.  For this lessons we are going to work with the version above, calling it Material #2.

If you were wondering if you can play Material #2 retrograde, the answer is YES!

C - B - C - D - C

If you were wondering if you can move this material through last week and this week's Progressions (movement by half step and movement by whole step) the answer is also a YES!

Furthermore, if you were wondering if you could play the material in both directions though the progressions, in both directions, the answer is also a resounding YES!

Are you up to a challenge?  This is sort of like the "approach notes" of last week, except, they aren't in a "straight line".  In this exercise, we start above the "target note", then go below the "target note" and then land on the "target note"

D - B - C 

as well as

B - D - C

Put that material through your progressions!  Vital!  Cornerstone material!  This is THE STUFF.  Memorize it, then make it reflex, then have rose petals thrown at your feet where ever you walk.








similar to last weeks "approach notes" (1, 2, 3 and 4 half steps leading to a "target" note) where we played half steps in sequence, this week we are going to play whole steps in sequence.  Three in a row to be precise.

C - D - E   ...  C# - D# - F  ...  D - E - F#

backwards, forwards, upside down, right side up.

also, to really get the sound in our ears

C - D - E - D - C  ....  C# - D# - F - D# - C#

ever hear anyone work out on that material before?

This so called "Jazz" music; same same but different....but same.  Same twelve notes, same rules of tonal harmony. 



There are some in the world of Jazz Pedagogy who say it is more important to practice scales (or scale fragments) starting on the high note and going down.  WE ARE ALREADY DOING THAT AS part OF WHAT WE REGULARLY DO!

Here's that three note material going down, played through this weeks progression -- movement by whole note

E - D - C ....  F - D# - C#  ...  F# - E - D... and so forth, for several hours each day, every single day.

(for those of you who regularly practice scales...try starting at the highest note--go down and back up as part of your new routine.)



LISTEN to what happens when we mix whole step and half step, that is
Note -- up whole step -- Note -- up half step -- Note

C - D - Eb

vs.

C - D - E

Do you HEAR a difference?  If not, you will after you practice this variation on the material through both progressions, in all directions, as we now do just as a matter of course...in this course!

I cannot emphasize the importance of being able to play these three note patterns without any thought.





Lastly, let's combine the "chromatic scale" (half steps) with the "whole tone scale" (whole steps).

Going up

[Note] -- Whole Step -- [Note] -- Half  Step -- [Note] -- Whole Step -- [Note] -- Half Step

C  -  D  -  Eb  -  F  -  Gb -  Ab - A - B - C

can you play this scale starting on C#?


If you were wondering if you could make a similar scale, staring with a half step, then a whole step, etc, the answer is YES!

C - Db - Eb - E - F# - G - A - Bb - C

can you play this scale starting on C#?

OF COURSE YOU CAN!

And you should!  Again and again and again and again and again and again and again.

Next week, the water gets significantly deeper!  We're about to cross the line of no return into TONAL HARMONY!


As always, leave any questions in the comments area, or feel free drop me an e-mail!