Online
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- Convenient
- Same method taught as one-on-one lessons
- Requires a webcam (available at Best Buy, etc) and subscription to Skype (free -- google Skype)
One-On-One
Private Lessons
- Individualized attention and lesson plans
- Opportunity to play side by side with Pete
- Comfortable, relaxed studio atmosphere
Music Books
the fundamental triad system - A CHORD-FIRST APPROACH TO JAZZ GUITAR
A comprehensive guide to learning the sound principles of jazz guitar - both theoretical and applied challenges.
- For any level of player
- Illustrated examples
- Practice songs
- Diagramed explanations
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Clinics
School and Community Outreach
- Engages students of
all ages in music appreciation - Instills belief that we all have the ability to create music
- Teaches fundamentals of music in a fun and dynamic way
The Fundamental Triad System Introduction to The Chord-First Approach
$29.95 (includes shipping & handling) ADD TO CART
Any jazz guitar method must address the challenge of presenting a central view of the fret board. In the conventional "scale-first" approach, the fret board is broken down into positional major scale fingerings. These patterns usually have a minimum span of two octaves. Students learn to identify chord progressions which originate from specific keys and use the scales as their first improvisational device.
Eventually, these patterns are reduced to modal and arpeggio fingerings which serve as a more specific view of the structure and functionality of each chord in the progression. In time, a player may also come to see smaller subsets, chord inversions, within these scale blocks which help him or her see with greater detail the components which make up chords and scales. In any event, two octave scale patterns become the central view of fret board.
In contrast, the central view of a "chord-first" approach is the chord itself. Scale forms are seen as extensions to chords. In this book, we'll use the smallest chord structure in music, the triad, to create a central view of the fret board. At the center of any song melody, improvised line, or chord voicing will be one of four "fundamental triads". Thus, a chord-first system starts with a small note field and works up to larger forms whereas a scale-first system starts with a large note field and works down to smaller forms.
The important question here isn't which approach offers a more accurate view of the fret board. In theory, both systems ultimately lead to the same place. Rather, the compelling question is, which system allows us to focus on real musical concepts sooner? Our central view of the fret board shouldn't inhibit us from being musical, rather, it should facilitate the process. It's my hope that the information presented in the book will help you to make musical discoveries and start developing your own voice as jazz guitarist sooner rather than later.
Pete Pancrazi