Piano

 

Each student's individual skill level will determine the amount of attention given to the mastery of harmony..

 

This includes a range of training from the simplest triads progressions with to and including 5 & 6 note voicings with extended progressions. The division between jazz harmony and classical harmony will thereby disappear.

 

Simple cadences and harmonic scales in all keys will demonstrate the same technical difficulties as complicated practices with scales and substitutes.

 

Students are in this way literally stimulated to start at the beginning. If desired, he/she can be guided through the ensemble repertoire in terms of voice leading and comping moreover, or chords, chord symbols and other nomenclatures.

 

Learning to think in degrees plays an important role.

 

Transposing a piece or chord progression on the piano has far-reaching consequences for fingerings. Therefore, a great deal of time is dedicated to this element. In this way, we can kill two birds with one stone.

 

I VI II V I in C, F Bb are easy stretches, while in E or B the are a nightmare.

 

In short, learning a few voicings and then spending the rest of the year playing 3 or 4 pieces no longer appears to be a relevant (current) method.

 

All substitutes of V are further dealt with, thus not only bII7.

 

For standardization, original chords are dealt with as much as possible, and thus not only the typical II-V-I.

 

All this gives you a founded knowledge of music a thorough technique and musical awareness.