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“The Astonishing Secrets Of The Most Talented, Most Knowledgeable, And Most Respected Musicians In The World... And ow !ou "an Appl# The$ To !our %la#ing And S&ip !ears Of 'nnecessar# Trial ( )rror...* + A,, "O-)R). I/SI.) T IS 0R)) R)%ORT +

“The %attern %#ra$id*
!sing this chart, you can easily figure out how to play &'( of the songs you hear. While all 1 ele$ents of the for$ula are essential, the big secret lies in understanding “%ATT)R/S.* "imply put, songs follow predictable, recycled patterns. If you master patterns and how they work, nothing will stop you from playing almost any song you hear in virtually minutes)


The Musician Transformation ‘Pattern Pyramid’ Chart. Copyright © 2010 ll !ights !eser"ed.

Read this entire report to discover, step-by-step, how you can put the Musician Transformation system to work for you and start playing almost any song you hear... WITH !T "H##T $!"I%... -1-

What You’ll •

isco!"r Insi#"$

The reason I23e written #et another %Musician Transformation& report, e3en after releasing 456 pages in 0R)) $aterial a few $onths ago... #!eport $1 % && pages' http'(()))* #!eport $2 % 2+ pages' http'(()))* The widening “7A%* between ad3anced and $ediocre pla#ers and what keeps mediocre ones stuck at the same level for years while others get to advanced levels in months, let alone years. ow to ta&e one ele$ent fro$ the entire for$ula 8hint9 “%%*: and use it to pla# al$ost an# song #ou hear on the radio... without having to rely on sheet music or any other reference.

ow #ou can put this entire Musician Transfor$ation s#ste$ to wor& for #ou and stop struggling once and for all to get to the ne*t level...

%art One9 The Reason I23e Written Another Musician Transfor$ation Report...
"o I+ve been on a mini ,-uasi. vacation since the last sold/out launch of my 0ospel Music Training Center and Musician Transformation ,ree -iveaway in .pril of /'0'. 1et me tell ya... that was a cra2y launch. The third time we offered the 0/-disc $usician Transformation to the world 3and it4s been off the market ever since --- 5#6 TW 7#.6"8. The first launch was 9ovember /:, /''; and we sold out all 0,''' packages and actually went over by some hundred copies when you combine some of our e*isting -$T% members who wanted to grab theirs too. "o that forced me to reorder them <ust to get the oversold copies out as soon as I could. .nd there were some issues there too #1 )on’t repeat that )hole ordeal here 2ut some fol3s )ill 3no) )hat 1’m tal3ing a2out*. .fter the dust settled, I decided to have a second launch to get the final remaining copies off my hands. That was =ecember ;, /'';. The third launch was .pril /&, /'0'.


.nd following that, I pretty much went $I.... with the e*ception of a few -$T% trainings here and there but not nearly as much work as I+d normally have on my plate. That+s why I called it a >?ausi@ vacation. ☺ Well, not really. "ince the last big launch, I4ve had two kids, which brings me to a whopping three. Aadyn, :. 1ayla, /. .nd Brendan, 0.

"o between being >stay-at-home daddy@ for the last year and tending to our private clubs 3-ospel $usic Training %enter C Aa22 Intensive Training %enter8, that+s pretty much what I+ve been up to. But here+s the thing... I+m one of those guys that can+t stay put. #ven when I+m not working, I+m <otting down ideas to implement when I get back to work. "o what I+m about to share has been brewing in my head for a couple months now and rather than giving it only to my private -$T% students, I+ve decided to release it as another ,6## report to )-)R!O/);;; >4oooooooooo/hoooooooooooooooo55555555555. What2s contained in this report can literall# change the wa# #ou approach $usic fore3er. -3-

familiarity 2reeds contempt..I+ve said this once and I+ll say it again. -4- . when people get >too much of you for free. and throw it aside. if not more.T 1#. "o to celebrate my transition back to work. F6 $I"#..@ they won+t respect you or they+ll devalue you or take you for granted. along with the other two I released. and I+ve survived. "o with that.. It. we >may@ use it 3some people still won+t8. I+ve taken lots of advice. it feels weird to tell someone who+s paying me to go read something that I+ve given to tens of thousands of people for free. They say . but I+ve gone with my heart when it comes to releasing free content online. I+m sitting down and restarting my creative engine with this insightful report. I may be rusty but I won+t stop until I+ve gotten my points across to you.. $. there+s no urgency to get to it because it didn+t cost us anything. please don+t value it as it funny how we humans areD If we pay for something. are worth . 3Business advisors have warned me against giving away so much free content as I have hundreds of pages of stuff on my blog and tons of video lessons all over the web. Whenever I release a report or lesson to the public for free. 7eah."T triple that amount..nd I know people do this because I+ll get the same ?uestions even on my private -$T% training calls. "o act as if you paid GH' to get this report. I+ll sayI )n<o#.E# $# . . But when I sit down and write something. ON’T VIEW MY RESO'R(ES T)AT WAY. I don+t make two piles and say >this is free@ and >this is a paid product.8 .@ I give my all either way. If we get it for free. and I+ll basically say >go read my free report on ‘practicing’ or my free report on the ‘7 elements of the musician transformation formula+@ and they+ll come back thanking me many times over..6ust free. In other words.

there+s definitely a gap between the best players and everyone else. no rhythm. it+s probably more like . They can figure out basic songs. They play. no coordination. game.. it+s the same in music. ..%art Two9 The Widening “7A%* =etween Ad3anced ( Mediocre %la#ers And What Keeps Mediocre Ones Stuc*.. or <ust flat out think this is an . 9ot a small gap. we+ve already established some of the reasons many mediocre musicians can+t break out of the trap. They use the same chords the same way over and over.e"ery man for himself. That+s &'( of self taught musicians in my book. They’re stuc3.'(/0'( but I+ll <ust say /'( to be nice8 are miles in front of the rest. The top musicians get e*ponentially better and better and the average and bottom . &'( of players are at the same average level. It+s like they say about the richest 0( of people in the world. They fiddle around..' percent. In my estimation. They sound decent. can+t pick up a song. In my first report. 9o variation. We even talked about the J'K year old problem in the church where e*perienced musicians outright refuse to teach budding musicians either because they fear losing their <obs to the >competition. The >bad ones@ can+t play a lick. 9o freedom. how they possess more than the bottom ...@ or they don+t want to share the spotlight... .. 9o They stick to the same basic rules of playing everything. can+t find the key to a song. 9ot that they don+t want it as bad as the top musicians --...nd those are the >good ones@ in the mediocre 809 group. huge gap. There+s no doubt about it --. $I1#". 7#") I9 TH# %H!6%H) -5- . The other /'( 3and <ust that something hasn+t clicked for them yet. musicians stay stuck or get worse... 3I don+t think that+s right but that+s how it is)8 But unfortunately..

nd there are others who aren+t as naturally gifted in their chosen arena but train so much they become masters at what they do.3There+s much more to that discussion but you+ll need to check out the first report to see what I said about it. . some of the best the world has ever known started off on the polar opposite of the >talent@ spectrum and worked their way up. I won+t say everyone has the >music gift.fter all. not all of them are that way.'' today8. let+s look at the word “7A%* for some possible answers 3e*cept I+ll spell it “7A%%* for the purposes of my illustrations8. He gives another servant / talents. 3"ome of them didn+t like how I e*posed them in my first report8.giftedness. -6- .@ I will say anyone can get to a level of mastery with hard work and dedication because most of us are given the basic skills to accomplish anything we want. this is a rare trait. value them. . 08 !ou ha3e a gift I won+t kid you. 08 7ou either naturally have the gift /8 7ou have access to top musicians 3if you can8 H8 7ou take action and practice productively Without ?uestion. It+s more than possible. >5 is a re?uire$ent for e3er#one. There are folks who were born to do what they do. whether we are naturally gifted at it or not. He gives the last servant 0 talent.. There+s a parable in the bible where Aesus talks about a master who prepares to go on a long trip so he summons three of his servants to him. first.. "o how do some musicians make it to an advanced. thus creating this gapD Well.8 But I+m not here to put advanced musicians on the spot again.. professional level while others stay stuck behind. There are some kind ones out there who don+t mind spending time with the up-and-comers. whether you have a natural gift or get access to top players who share selflessly with you 3or both8. "how them you appreciate them because from what I+ve heard time and time again all across the country. But let+s talk about . If you+ve found one. He gives one servant J talents 3e?uivalent of about GJ'''.the gift. In fact. 1et+s talk about this idea of .

.. count your blessings. . 9eedless to say. He left the servant with 9 THI9-. 9ow we+re literally talking about money in this parable but the implications are wide. he doubles his master+s investment) 1ikewise with the servant who was given / talents. though. 3' talents to 00. . But it doesn+t matter because the common thread is what you do with them. "ome can+t do both.He e*pects them to do something with what he has entrusted them with.if you can move your fingers and if you can hear the siren of an ambulance passing by.@ some <ust >0@ 3. In other words. If they.. He brought back L. did have a natural gift or inclination for music 3which is not always the case8. -ifts can be as simple as that or as elaborate as the servant with ten talents. Imagine the word talent really meaning >talent@ --. Imagine the best musician you+ve ever heard. but don+t ?uote me on that one)8 "ure enough. if I+ve ever seen one8. "ee.give or take8. attributes. 9ot only that but he cast him away into darkness.a2o"e/a"erage natural proclivities. everyone comes here with " $#THI9-.. but he took away the one talent he gave him. I believe that+s where the current use of the word is derived. But the servant who was only given 0 talent. The servant he gave J talents returns with a total of 0' talents. the master was known to be hard on folks. "ome >0'. hmmm --. in fact. there+s a >)idened gap. he finally returns from his long trip. What+s more.nd if you think you+ve got nothing. and skills you possess. he gave the talent he took away to the servant who brought back 0'.. What does this have to do with youD )-)R!T I/7. -7- . what did he doD He dug a hole in the ground and hid the talent. It had to be cultivated. Well. it’s )hat you finish )ith.fter all.. I guess he was scared since he only had 0 and didn+t want to risk the little he had. He didn+t do anything with it. 3In fact... the master wasn+t happy about the last servant+s attitude. He not only scorned him by calling him la2y. It+s not what you start with.. the gift still had to be honed. some people have more talents than others.@ some >J..

-8- . What I+ve noticed is that access to the >inner circle@ is very closed and cli?uey. There is no middle ground. If you+re not active. -od doesn+t do for you what you can do for yourself.. But he knew the disciples could remove the stone so he re?uired them to do what they % !1= : T. well.. "tart moving. =on+t you think Aesus could have removed the stone. "o don+t sit around sucking your thumb talking about who has natural talent or who doesn+t. he was deemed >la2y@ and lost it.ngeles. "tart practicing like you+ve never practiced before. tour with all the popular artists. and essentially work full time in the music industry. #veryone is at the top of their game. !ou ha3e what it ta&es. #veryone seems to know each other.fter all. Then he entered and did the supernatural.The guy who brought back 0' talents had to work at doubling the original J. as powerful as he isD . #ou2ll lose it. that+s nothing in comparison to raising a dead man. 7ou want e*ponential growthD "tart working like you+ve never worked before. The other one who had little and chose to bury what he did have. you+re not growing and if you+re not growing you+re dying. The only way in is to prove yourself or be introduced by one of the respected members. he would have been cast out too. there is a pack of professional musicians that play for all the big mega churches. It <ust didn+t pour into his hands. 7rowth is attracted to $o3e$ent. I bet if the guy who was given J talents to start came back with no gain.! <<= = . That+s why Aesus told the disciples to remove the stone so he could enter and raise 1a2arus from the dead. We+ve had the privilege to interview and produce courses featuring some of them. He only does what you can+t do. So if #ou don2t use it. @: !ou ha3e access In 1os .

He+s played for Aanet Aackson. into the industry.ngeles because obviously it+s a hub for music and entertainment and close to where I live. you never knew they played piano until nowD That+s because they probably haven+t played piano until 9 W) -9- . They call it “shedding.hey> let me ha"e that.. 7ou can find samples of him on our youtube channelI httpI//www. If you think you+re good because your non-musician Fastor has pumped your head up. They aren+t going to shed with you if you have nothing to bring to the table. there are the >known musicians@ and then there are the forgotten> >rest of them. not beginner stuff8 --. who were >connected@ because of their brilliant singing ability. and many more. . It+s a catch-//. they were hooked. if you are e*tremely talented. well. But even in small rural towns.antasia. all because they had a professional head start from a fello) insider. Toni Bra*ton."ure. They can sniff you out after <ust a few seconds of you playing.. I mean.@ What+s interesting. they+re lined up along the walls or even hanging out in the >musicians bo*@ or backstage if it+s a huge mega church. though. 9ow <ust imagine every city having one of these >circles.ew can do that.. If you+ve ever been to a musical. you+ll get a reality check when you get around >real players@ from this group. Teddy 6iley.. This happened to Aairus $o2ee 3the young guitarist in our upcoming advanced guitar He forged his way into the insider seems to come with the territory. now you have access to learn from all the other top 0( musicians you+re hanging around.. Flay for a few celebrities and they start thinking they+re one too) ☺ $ost musicians would be laughed out of this circle unfortunately.only to find out they+ve been playing for <ust : months. is that I+ve seen singers.. . but I can tell you from e*perience --. once you+re in. shift over to playing the keyboard from scratch. some will share because not all the top players e*hibit these characteristics. you can go from virtually unknown right to the center of the circle.* 7ou+re hanging out after a concert and you hear a new run or chord voicing they+ve played and you immediately say.nd what+s more. his ama2ing gift simply >made room for him. Have you ever seen celebrities bust out playing the piano and after years of following them.@ I only point out 1os . 6ight out of high school. .youtube.nd they gladly share with you because they know you can return the favor. . I+ve been baffled to hear someone accompany themselves on the piano 3with very nice chords and progressions.@ He didn+t have to know an insider because after anyone heard him play publicly. .

. a budget of about G0''.. . or paying G/''/month for lessons..''' GJ'.@ a ma<or part of ne?t/le"el gro)th because it+s impossible to go on this <ourney alone.'' . Aust be prepared for a minimum of /-L lessons per month at around GJ' each. it+s <ust not cheap and not totally geared towards church playing. . That+s why we created the -ospel $usic Training %enter. 7ou+ll be playing Beethoven and Bach and stuff like that.nd you can+t <ust have the GL'.or those of us who play by ear. "o those are some ideas concerning >access. #ven if you have >natural abilities... If you have both natural ability and access.. you+re not going to magically inherit super powers. you better have a stellar audition piece and know how to read sheet music inside and out. It+s closed to the mass public at the moment but it+ll be open soon.'' a month.. all of these go hand-in-hand. . you can now gain access to the knowledge and e*perience of others without living in their city or going to their church or bribing your way into the insider+s circle. But obviously. . That+ll pay for a good H'-LJ minutes per session. but when you+re an insider and you have access to the help of professionals..@ you won+t go far without honing and cultivating them.. With the advent of the internet. 7ou can >buy access@ from a private instructor. that+s not impossible. even if you have the money to fork over. It+s an economical way to have the comprehensive access you need to piggy-back on the e*perience of trained.... access to professionals is not a problem. you+re still going to have to ta&e action.lternatives like Aulliard or Berklee "chool f $usic. <uc3ily> there’s other )ays to gain access. you+re already dis?ualified.G/''.. That is. professional musicians and teachers. If that+s your cup of tea.'''/year re?uired to go to these prestigious music schools.Hey. then G/'' is the going rate. there are tons of teachers out there. it+s possible but few can travel that path. -10- . this is the most rewarding option. if they teach what you want to learn.act is. Well.. If you+re serious.. 5: !ou ta&e action and practice producti3el# If you haven+t caught on. But ma<ority of them are classically focused. actually cheap compared to other alternatives. #ven if you have >access@ in one way or another.

When you practice. -11- . you canI a: .... It has the power to do hundreds of millions of things F#6 "#% 9=) 7es it+s true. they fumble over notes and never do them accurately.o the right things There is a difference between the two. "urely... But for now. they play it a different way. Heck.@ "o when you slow things down. Both are important. This is called efficiency. they probably e*perience muscle confusion.$# movements over and over. That+s why the saying goes “$ind o3er $atter* . Froductivity is all about being able to walk away from your instrument feeling like you+ve accomplished as much as you possibly could in the time allotted. The truth is. you must get in the habit of slowing things down so that your fingers get used to the movements. not >matter over mind. "o they never achieve muscle memory.. r worse. But that ain+t so true for your physical bones and muscles..That+s where the rubber meets the road. it+s important to do things right. If you simply fumbled over a few chords and called it >practice.OI/7 T I/7S RI7 T. Because most musicians try to play things fast from the get-go.. the mind is a powerful device. "o <ust applying that one techni?ue can lead to more productive practicing. you give your muscles the opportunity to memori2e the ".@ it+s possible that you+ve set yourself back a few steps rather than gained from the practice..o things right b: . R)%)TITIO/ IS T ) MOT )R O0 SKI.@ =on+t be caught up on doing everything at the actual speed it+s performed. 7ou will eventually get there. Imagine practice that actually harms your growthD "o that+s an e*ample of . That+s why I always tell people to slow things down to >turtle speed. they never give their muscles the opportunity to memori2e 9# % 66#%T way of doing the movement because every time they play it.. a techni?ue that may help bodybuilders but it won+t do you well on the piano. But watch this.

.com/missingchapter. But you failed to do the right things.C.@ The first two reports clearly detailed the J elements to focus your limited time and resources on. 6eport M/ N httpI//www. and how patterns work.'''/year education would be overkill 3considering what we do8. =ou don’t miss a 2eat. -12- ..hearandplay.pdf 3/.pdf 3LL pages8.those for whom a GJ'. The order of these words is e*tremely important. “.. to a personal fitness trainer li3e 1’"e done in the past and they tell you to perform e?ercise > @> and C> 20 times each /// 2ut you get . you did one of the e*ercises right.* instead of doing each of the three e?ercises 20 times each. ain+t itD 1f you .udition well and cross your fingers) But for the rest of us --.'''/year to get a top notch music education.. pages8. WhyD Because it+s possible to do the )rong things right. I can play ma<or scales correctly but if I fail to reali2e the T6!# importance of scales and how they allow me to understand the universal >number system. there are key things we can focus on and there are other things that we can afford to leave by the wayside. I+ve done something right but missed the right thing to focus on. then I+ve missed the boat.. There+s a slight difference..TH# 6I-HT THI9-". The other half is.That+s <ust half of it though.OI/7 T ) RI7 T T I/7S. I know these are way out analogies but many people focus on doing things right <ust for the sake of saying they are doing something when they can spend a fifth of the time doing the 6#.* I think this one carries a little more weight than the former.e?ercise C.hearandplay... That+s why people pay GJ'. That+s what I mean by >= I9. Have you done yourself any goodD I+m not mad at them either) -o for it) . 1n fact> you e"en do e?ercise .pay for access. 9ow you get itD There+s tons of stuff to study in music. perfectly.@ playing in all 0/ keys.. 6eport M0 N httpI//www. that+s going to make all the difference. and only do your fa"orite e?ercise A0 times #let’s say .1 "T!.com/mtreport.

. someone who is serious and committed to success."o with your gift 3large or small8. -13- . don+t get me wrong. nly you know if you+re la2y or disciplinedO smart or dullO up for the challenge or defeated alreadyO a loser or a winner. %art Three9 ow To Ta&e One )le$ent 0ro$ The )ntire Musician Transfor$ation 0or$ula And 'se It To %la# Al$ost An# Song !ou ear. you+re already familiar with the five elements of the formulaI 1* Bundamental Bluency 2* Chordal Command C* Pattern Proficiency &* Dong Dolidity 7* Ear Efficiency The $usician Transformation 0/-disc package I gave away for free to everyone who <oined the -ospel $usic Training %enter in 9ovember and =ecember includes J separate sections that cover each of these elementsI 1* Bundamental Bactory 2* Chord County C* Pattern Paradise &* Dong Dtation 7* Ear Ele"ator 9ow. nly you can decide if you are sufficiently fed up with being stuck at the same level while others pass you up and if you+re finally ready to take action to radically transform your playing. and good productive practicing.ll J elements are important... access to other people+s knowledge/e*perience. $iss <ust one of them and you+ve got ma<or problems. If you+ve read my first two $usician Transformation reports.* But that+s up to 7 !. you+re sure to minimi2e the “gapp.

The problems are endless for folks who don+t understand all J of these elements. %ATT)R/S R'.-. There are some brilliant song writers that come along and totally reinvent the wheel.nd for some of you who skipped the first two reportsI NOTES (REATE S(ALES 3that+s all in the Bundamental Bactory dvd8 S(ALES (REATE ()OR S 3that+s in the Chord County dvd8 ()OR S (REATE PATTERNS 3bingo.@ which is covered in the Fattern Faradise dvd in the 0/-disc collection. recycled patterns. 3all covered in Dong Dtation dvd8 Dcales are a series of notes played one after the other.@ they+re stuck.. .ll songs follow predictable. I do have a personal favorite. Dongs are a series of patterns organi2ed in a particular order. I+d say &'( of songs can be deduced down to the same... They are <ust that important.. r those musicians who make every song sound the same because they only know so many chords. =on+t get me wrong. . systematic. It goes back to &'//' rule. Chords are a series of notes played together at the same time. there are some e*ceptions.. common patterns covered herein.. those are the e*ceptions. Chord Progressions #or patterns* are a series of chords played one after the other. . I+ll tell you why. AN PATTERNS (REATE SON+S.). If you start singing a song in ># ma<or. those musicians who can only play in a few keys.I9.That+s why you have musicians who can play but don+t know what they+re playing.. But out of all of them.. It+s >Fattern Froficiency. Worse. that+s what I want to talk about here and that+s what+s covered in Pattern Paradise8. -14- . But again.

s simple as that. . 1et+s start with the basics.@ now you have the right floor to press on the elevator. your first goal is to establish the ma<or key of the song. . "ame thing with music.. When you+re listening to a song.... I did a free H'K minute video tutorial on this topic at httpI//www.. That person could be anywhere) . that will lessen the amount of options you now have available to you.hearandplay.nd you+re most likely to burn out before you find him. "o now you+ve narrowed your search to one floor. What if I gave you the order in which to searchD "o you+ve already narrowed your search from 0/ floors to one. play.. But now I+m going to tell you to search this suite first. Would that be helpfulD That+s e*actly what this chart does for youI -15- . then that suite. That will determine where you look for what you+re looking for. and recogni2e those patterns when you hear them.nd it gets better. They+re looking for someone in a 0/ story building. .irst establish what floor you need to be on. then that room. for e*ample. nce you know the song is in. Imagine trying to find a buddy who told you to meet him in a 0/ story high rise building. How would it feel going floor by floor looking for himD It wouldn+t be smart either rightD $usicians who try to learn a song without establishing the ma<or key do e*actly that.. >% ma<or.It+s your <ob as an >ear musician@ to understand.. thus making things a little easier. then this $ake senseD If you+re on the floor of >% ma<or.@ well.

is the QQQQ tone of the scale. B %8.. when bigger8 :th tone Minor Pth tone .nother one can be considered >away from home. is the QQQQ tone of the scale. this system tells you e*actly what chords are most likely to be played on each one of these bass the QQQQ tone of the scale. -16- .. In my first report at httpI//www..nother one might function as the >on my way home@ degree 3or tone8 of the If they aren+t right.i$inished 3or half diminished.@ .pdf you learned there are chords most likely to occur on each tone of the scale. ne of the notes can be considered >home. . . There are other roles like >getting ready to be on my way home@ and >at my cousin+s house@ but what+s important is that you understand how each tone of the scale functions. if you+ve determined a song is in the key of >% ma<or@ and you+ve happened to pick out these bass notes in the songI " 7 A 0. when bigger8 The first thing I+d do is convert this bass line into numbers. !nderstand this firstI There are P uni?ue notes that make up a ma<or key. .But more on the chart in a second. Jth tone Ma<or chord 3or dominant. If you play a % ma<or scale 3% = # . 7ou won+t always find a ma<or chord off the 0st tone of the scale <ust like you won+t always find a minor chord on the /nd tone but these are like the >defaults. f course.the P notes that make up the ma<or key of %.@ . Here+s a recap of thatI 0st tone Ma<or chord /nd tone Minor chord Hrd tone Minor chord Lth tone Ma<or chord . 9ow each one of those notes carry a particular >role@ in %. . In % ma<orI % is the QQQQ tone of the scale. there you go) . This will shave years off your learning curve. this isn+t 0''(.or e*ample.hearandplay. move on to other options) "o back to the bass line " 7 A 0 in % ma<or.@ 7ou should always try them first.

.is the Jth tone of the scale. for the >. . 00th. . . it ain+t written in black and white but using these rules will save you a lot of time) -17- . 0Hth8 "o yes.rom<or with that one. I+m going to put a minor chord there since >.Here are the answersI In % ma<orI % is the 0st tone of the scale. when bigger8 What happens if one or more of these chords doesn+t sound rightD .i$inished 3or half diminished. 0Hth8 =iminished chord 3or =iminished Pth8 If using a minor chord doesn+t sound right. "ince the fifth tone of the scale also creates a ma<or chord 3or a dominant chord.@. . 00th.nswerI This is a game of trial and error in the beginning 3until the ear can naturally hear the ?ualities of the chords8 so you+ll go down your list of chordsI If using a ma<or chord doesn+t sound right.or the >. " $a<or 7 $a<or A $inor 0 $a<or Jth tone Ma<or chord 3or lastly. try aI $a<or chord =ominant chord 3Pth.@ is the :th tone of % ma<or and the :th tone will usually be minor. I+m going to play . try aI $inor chord =ominant chord 3Pth. . is the Lth tone of the scale. . ma<or since it+s the Lth tone of the scale and will usually be ma<or. 0st tone Ma<or chord /nd tone Minor chord Hrd tone Minor chord Lth tone Ma<or chord "ince the first tone of the scale usually creates a ma<or chord.@ bass note. I+m going to try % ma<or for that one. I+m going to try . when bigger8 :th tone Minor Pth tone . which we also talk about in the first is the :th tone of the scale. I can use the chart to figure out which chords should be my first options to try. .

or .C. If that doesn+t work.0.b ma<or but you happen to be on the Ath tone of the scale 3which is >.@2. or . there are only so many places to go from . the ne*t option is probably aI • Chord 2ased on . the ne*t option is probably aI • Chord 2ased on .E2. Where did I get those optionsD 1et+s turn to my >Fattern Fyramid@ chart below for the answerI -18- . f course. song writers can do what they want but e*perience shows the ne*t chord after . Then. What that means is if you+re in . the ne*t option is probably aI • Chord 2ased on . 2. is usually going to be aI • Chord 2ased on .F2. If that doesn+t work. there+s more) 3sounds like an infomercial huhD8 There are predicta2le mo"ements that happen over and over again in music..@8. if that doesn+t work.But wait.

is a fifth. ☺ Back to >fourths. We+re creating out of thin air 3oh the <oy of playing by ear)8 "o because fourths and fifths are inverses of each other. we sometimes go up to . we sometimes go down to . . "ee. it+s true.02>.@ you know that this can be considered a fourth if you go down from % to -I % B .a fifth because we+re going up from % to -I % = # .ourth movement b8 .. going up a >diatonic@ fourth is % = # . you can call them fourths or fifths. $a<ority of the songs you hear move in fourths. B . it depends how you look at it.. 7up.@ which is “fourths. -.. is a fourth but going from % down to . If you+re sitting around twiddling your thumbs talking about . In fact. 0or the purposes of this lesson. )hich use a . we have that freedom. "o going from % up to .diminished fifths>.1 can’t pic3 up songs. 3But since I+ve put you >up on game. I+m going to e*plain each of theseI a8 . But notice what happens when I go down a >diatonic@ fifthI % :ote' Fiatonic means related to the ma6or or minor scale. is it because you don+t understand the po)er of fourthsG In the ne*t couple of pages. a note outside the C ma6or scale*. But here+s the thing. is a fourth because we will assume we+re always going up from one note to the ne*t. When you play by ear..C.ifth movement c8 "econd movement 3aka N >stepwise motion@8 d8 Third movement -19- . -ot itD "o % to .* By far. We aren+t reading sheet music or borrowing someone else+s homework.@ This is $usic2s fa3orite $otion. it+s all in how you look at it.. Aust not today.I started at the base of the >Fattern Fyramid. this is the most common movement in music. That makes % to .. -8.. they too hard>. 9ow. we will alwa#s be going '%... before I move any further. Do these inter"als a2o"e are fourths and fifths created 2y notes of the C ma6or scale #as opposed to other types li3e .. and .

0O'RT MO-)M)/T9 .or this section. 7 These are what we call fourth mo"ements #or fourth inter"als*. obviously we+re going to focus on the >fourths@ side.@ Foint blank.@ the most. I+m going to use a chart you+ve probably seen in past lessons. %(ircl" of Fifths -or Fourths.. the probability of an >. on’t matt"r /hat *"0 0ou’r" in. It+s the famous. counter-clockwise. . this will always be your most popular movement in songs.@ chord coming ne*t will be higher than any other note.b 7b = ) A . 6egardless of what key you+re in. -20- . In other words. . If you count up every song ever made.fter >%@ comes >. We+re going to go the opposite direction of a clock. That is. >%@ will always flow to >..& 9otice one arrow points to the left 3counter-clockwise8 and indicates >Lth@ while the other arrow at the top points to the right 3clockwise8 and indicates >Jth@.or this section... fromI " 0 =b )b Ab . you will find that after any kind of >%@ chord is played.

6ememberI Trial and error. we+re going % !9T#6%1 %EWI"#. !6TH". circle an# three notes that are neighbors on the circle chart and there2s #our @C1CD.b ma<or. .. is the Lth tone of the scale so it+s most likely to be ma<or as well. % is the first tone of the scale so it+s most likely to be ma<or.@ comes >Bb.ccording to what we+ve learned. based on what we+ve learned.fter >. In the same key of . minor most likely because those are the roles these tones take on in the key of .. the opposite direction of how a clock would tick8. the % minor might be changed to % ma<or to give a stronger connection to . 7ou+ll find it at the end of almost #5#67 song you play. and Bb on the circle 3remember. That happens sometimes too. . that would make both of these chords >minor@ in ?uality. What+s important is that you understand the power of . .. In the key of % ma<or. "o you+re most likely to get a % ma<or chord moving to an . B 7 B ".. they carry different >roles@ in different keys. In the key of % ma<or. -21- . -o ahead) Try it) %ircle the keys of %...b ma<or. 3It+s that popular8. % is the Hrd while . ..b ma<or. regardless of what key you+re in) Here are some e*amples of patterns that utili2e fourth movements... "ure. . f course. That+s why the ear is the final <udge and it takes all of 0' seconds to change a % minor chord to % ma<or if it doesn+t sound right initially. % minor would move to . Well. there are e*ceptions. a >/-J-0@ progression will use these bass notesI .. is the :th. too.. But in the key of . ma<or in this key. minor. >/-J-0@ is a common progression that ends a song. In this case.@ "ame for all the other notes. %. and Bb make up the keynotes of a >/-J-0@ in the key of Bb ma<or 3see illustration on ne*t page8.

I mean. how about )b. .. isn+t “)b* the /nd tone of the =b ma<or scaleD Isn+t “Ab* the Jth toneD Isn+t “.b* the 0st toneD The circle of fifths simply does the work BH! =H. Ab.b... Those three notes make up a >/-J-0@ chord pattern in the key of =b ma<or. -22- .%ircle another H notes.

it+s in our pattern pyramid but not as common as fourth movement.nswer S $a<or or do$inant 4 chord. )b $inor or )b $inor4 BBB Ab $a<or or Ab 4 BBB . . It utili2es almost every tone of the scaleI " R # R . as you can see. 9oteI The % to # is a third.. ask yourselfI What chord is most likely to occur on the /nd tone of the scaleD . I would probably try an #b dominant P chord ne*t as this would produce a more >bluesy@ sound and sometimes you+ll find that occurring on the /nd tone of the scale. If the #b minor chord doesn+t sound right.. if these chords don+t work. that gave me a >/-J-0@ in the key of =b ma<or.@ 3and its movement to >#@8.1W.or e*ample.7" ma6or chords8. when I circled #b. The ratio is L to 0 in this e*ample as we have L movements that -23- . )b QQQQQQQQQQ chord RRR Ab QQQQQQQQQQQ chord RRR .ccording to what we <ust learned..b $a<or or . -uess whatD #*cept for the starting note >%.nd the cool part is.nd this ties right into the previous section where we studied what chords work on each tone of the scale because once you figure out the keynotes for your >/-J-0. and =b. . Here+s a bigger chord pattern.. .circular mo"ement. .b QQQQQQQQQQQQQ chord !sing the information you <ust learned.we call this . you can always change them around until you find the right chords that do.@ <ust apply the right chords.nd ask the same ?uestion for the 0st tone of the scale 3which is really easy because those are mostly . every tone in this pattern moves according to the circle of fourths chart --.. a “$inor* the same ?uestion for the Jth tone.b. R = R .b $a<or 4 .R %. .

it+s pretty much this way across the board.move in fourths to only one movement that moves in thirds. ) to 0 3basically the normal way of playing itI ( E F + A 1 (8 Here+s another way to look at the ma<or scale --. . in the actual way most songs flowI -24- . . In fact. we+re back to the .gain..B!T THI" TI$#.$# way --.circularly --.. Aust pop out your circle and find where these notes appear... to ). .ma2ing) They are all ne*t door neighbors) What if I told you most songs move in this same wayD . "o instead of thinking of the key of " $a<or asI . I can+t tell you if it+s e*actly &'( of songs but I+ll estimate that ma<ority of songs move in this ".80(20 Pareto Principle.nd in my e*perience.rom " to ..especially if they sound predictable and like you’"e heard them 2efore. I think it+s more valuable to rearrange the notes of a ma<or scale in fourths since songs are most likely to move in that direction..

R=R-R"R.The “" "ircular Ma<or Scale* 3my own term8. it+s the #T. but basically. BR#R.%T 9 T#" 3nothing left out8 but simply played in the same order as the circl" of fifths$ -25- ... PR HR:R/RJR DR L I know this is way different than you+re used to thinking about the scale...

you are tapped into something that few >ear@ musicians know or understand. Next up: FIFTH MOVEMENT -26- . 1 no) 3no) there is a method to the madness. you+re already training your brain to think in this new musical direction.Iermaine> 1 solemnly s)ear to analyJe all the songs 1 3no) and to 2e a)are of all the circular . doesn+t it feel like a circleD #ven if you didn+t have all the great knowledge you+ve learned in this report. Aust for fun. nd )hen learning ne) songs> 1 )ill remem2er this magical circular direction and try it first )hen 1’m attempting to figure out )hich chord to play ne?t. . mo"ements 1’m already playing.K=K. %hord 3right hand8 . -K%K# .M K % K # .But here+s the ama2ing part.. doesn+t it <ust >feel@ like you+re going in loops or somethingD %ircular movement 3aka N >fourths@8 is music+s favorite motion) =on+t forget it) "o make me a promiseI .. in the key of % ma<or. When you learn every ma<or scale this way 3which isn+t hard because they all overlap8.nd since I estimate ma<ority of songs move >%I6%!1.K% When you+re playing this.fourth.. = % .@8 Tone M P H : / J 0 L Bass note 3left hand8 B # . -M K = K .617@ 3in the same direction shown above8. K Bb K = # K Bb K = #K. here are some cool chords to play over the >P-H-:-/-J-0-L@ pattern 3aka N $y >circular scale.

K %8 A $inor 3..bass /// ... Haven+t you heard the following progression in a ton of rock songsD 3-o ahead and try it8. %onsider the circle of fifths again. give these chords some styles) Imagine a rock band on stage at an $T5 award show)))) -o on) Try them out) These are all fifth intervals too) -27- .0I0T MO-)M)/T9 7ou hear a lot of fifth movements in pop and rock music. " $a<or 3% bass /// % K # K -8 7 $a<or 3. you+ll still find it represented in many songs..K B K =8 . we+ll actually go in the same direction a clock would 3as opposed to going the opposite direction when we studied fourths8. But this time. bass /// # K . K . While this movement isn+t as popular as its fourth counterpart. K %8 %ome on. $inor 4 3= bass /// .

we+re talking about fifths... It+s called a >:-/-J-0. Whereas circular progressions move in accordance with the circular of fifths.step)ise motion.. but <ust wanted you to know that though8. We also call this . step-for-step 3which ends up being either )hole steps or half steps8... MO-)M)/T9 This is a very common movement in music.@ But we+re not talking about fourths right now. S)"O/. 39oteI While we+re on it.@ to >=@ to >-@ to >%@ is a very popular . stepwise motion simply moves up and down the ma<or scale. -28- . This is when notes move in half and whole step motions.Here they are on the circle of fifthsI They+re all neighbors) We+ve simply changed our direction to clockwise as opposed to counter-clockwise 3which is the direction of >fourths@8. !6TH movement. going counter/cloc3)ise from >.

going to . 1ike 0-P.. L-H.. is . I+ll N be N your N friend@ " . . is .scales as num2ers.. H-/. MIEI/7 ST)%WIS) MOTIO/ A/. Enowing what you know about circular movements and how popular they are. "ay your bass isI " B = B A That means it starts on some type of chord on ". is simply . I+ll N be N your N friend@ "$a< . going to . then finally to some type of chord on A.@.. % moving right ne*t door to B. P-:. . H-L.$in )$in 0$a< 0$a< )$in . and B moving right ne*t door to the ne*t tone of the scale. " "ee how the bass notes moved in stepsG What+s more. in C ma6or #2ass notes* >When N you+re N not N strong.<ean on Me.#*ampleI .@ >9o Weapon.@. 1ike 0-/.. you can insert chords into this progression and it would sound even better) -29- .. #all co"ered in the first t)o reports*. . /-H..K/A. :ote' The num2ers come from the scale. :-P. That’s )hy it’s so important to 3no) your . P-0 Then on com2inations. .AR %ATT)R/S "ay you+ve picked out the bass to a song in the key of %. L-J.2/C. That+s clearly stepwise motion or second inter"als. #ventually. giving youI >When N you+re N not N strong. J-:. you can actually take the chords you learned earlier and place them on these bass notes. <ust this string of bass notes work for >Aesus is the .@ and many more...C. going to . /-0.E.. your <ob is tackle all the different types of second intervalsI • • • . HI9TI !se diatonic chords on these tones and you+ll be able to play all these songs8. :-J. Then on ascensions. J-L. 1ike balladsI 1/K/A/7/&/C/2/7/1 3Believe it or not. 1f you’re in C ma6or> a .@ >Aesus is 1ove. "IR"'.F. ) 0 0 ) .1/K.ocus on dissensions.$in "$a< We call these diatonic chords because they are naturally created by the scale and use only notes from the scale.nswer. then moves to some type of chord on =.

-30- . >stepwise motion. Hrd.e. "o by changing this to >#P@ 3# dominant P8. %RBR)R. But if we wanted to establish chords. we call them S)"O/. I+d probably change the ># minor P@ chord to a dominant-sounding chord.. "o essentially. we would simply ask our selfI . work.OMI/A/TS..@ BR)R. It+s <ust moving down the % ma<or scale. you+d know that these seventh chords could workI " $a<or 4 B = halfCdi$inished 4 B ) $inor 4 B A $inor 4 9oteI I+m <ust using the seventh chords that naturally occur on these tones of the scale.t the moment. the song is going from B to . If I wanted to change things up a little bit. or :th tones8. . When you substitute dominant chords for minor chords 3that would normally occur on the /nd.@ is circular movement) This is e*actly how songs like . .nd based on previous reports. the >%@ to >B@ is still moving in steps but the >B@ to >#@ to >. chord. We haven+t established any specific chords yet. now we have an even stronger push to the ne*t chordI " $a<or 4 B = halfCdi$inished 4 B ) 4 B A $inor 4 "o that+s all the >knowledge@ part of the e?uation.Why don+t we add “)* after the “=F* WhyD Because if you look at the circle of fifths. When #ou use do$inant “blues#* sounding chords. the# alwa#s STR)/7T )/ the connection between whate3er chord co$es neGt in the circular pattern. >#@ is actually in between >B@ and >.@ rightD8 But if we wanted to make this progression more appealing. which happens a lot too 3i.AR! .Delf> )hat chords are most li3ely to occur on these tones of the scaleG. Eeep in mind that we are <ust talking about bass notes.R=R-R%R. we could insert some type of >#@ chord after the B chord and it will give us an even stronger connection to the . which is fine.Than3 =ou <ord.

When you leave it bare like I have for the title of this section. simply use one the first time around and use the other option when you repeat the song.TI 9 % 11#%TI 9. 7up.It takes the ear to actually hear that the >#P@ 3aka ># dominant P@8 works better than the ># minor P. we call this being generic 3aka N >generic intervals@8.@ . 6$. we call this being specific 3aka N >specific intervals@8. for some of you who don+t know your chords yet 3cough cough.nd if both can work. If you know your intervals.. K = K . there is a shortcut to finding thirds. When you put a >ma<or@ or >minor@ in front of it.9 T6. <ust skip a note in your scale and you+ve got yourself a third interval. and specifically the >%hord %ounty@ dvd8. %. MO-)M)/T9 This is the least popular out of the four main types but it still occurs a lot.. When you leave it generic. h yeah. A=O'T A-I/7 O%TIO/S.@ In any given key.9"..K % K # "ee how we clearly took a progression that was moving in steps and made it circularD 9ow it+s your <ob to read and reread this report until it clicks and apply this stuff to other areas of your playing) T IR. 7 ! 9##= TH# 0/=I"% $!"I%I.. Here+s what you do.) /OT).. ) do$ 49 # on bass /// -M K B K = K # A $inor 49 .A!I/7 =! )AR IS A.. you+re basically saying >any type of third. -31- . H'ST SKI% A S"A. on bass /// . here are the chords written outI " $a<or 49 % on bass /// B K # K = halfCdi$ 49 B on bass /// . you+ll know there are ma<or thirds and minor thirds..

fifths. "o we+re prepared for it too) MIEI/7 A. we understand . 9ow. which is step)ise motion8I " $a<or A $inor 0 $a<or 7 $a<or 9otice >%@ going down to >. you+re going to see all these movements 3fourths.@ or even the opposite direction from >. >=@ to >. 6egardless of whether ma<or or minor. >.. >B@8. some will occur more than others. is >. to . they+re all T IR. .@ you+ll notice L half steps. Aust skip a note of the scale 3not <ust any note. thirds8 mi*ed in with each other. "o when songs move in this direction 3for e*ampleI either from >. your goal is to understand and be able to recogni2e these movements.@ going to >-.The e*ample above uses the notes of the " $a<or scale but the concept is the same in every key.@ <ust has H. That+s why we+ve ranked them the way we have. -32- .or e*ample. $usic mi*es all of these.@ is a third 3it skips a scale tone. >%@ to >#@ is a ma<or third but >=@ to > common too) It+s stepwise motion. it+s pretty simple. .@ going down to >. song isn+t A!"T going to have fourth movements or A!"T fifth movements. If you count up the distance between >%@ and >#.@8 this is considered third mo"ement. Major Third Minor Third Major Third Minor Third Major Third If you+re one of those overachievers and want to know the difference between ma<or and minor thirds. seconds.t the end of the day. But at the end of the day.@ to >.@ to >.outsider. The only .either a ma<or third or minor third. $a<or thirds have I half steps between the notes.. MO-)M)/TS . Here+s a common progression that uses third movement 3e*cept the movement to the last chord. >-@8. $inor thirds have 5 half steps.S.@ is a minor third. you must be skipping one note of the ma<or scale8 and you+ll be playing some type of third --.@ but since we+ve studied second intervals.@ is also a third 3it skips a scale tone.

. you+ve unlocked the key to playing 2y ear.* Write this down9 Da"e this date5 7our last chance to try the training center and also receive the 0/-disc set as a special perk will be on Thursda#. go for it) Frepare a great audition piece and get your financial aide together 3unless you+re rich8. With the e*ception of a few key things. they aren+t e*pecting you to pick it up. they won+t be focusing on the -33- .nd still.oors To This )Gclusi3e Training "enter And 7i3ing Awa# M# J@KK.hearandplay. MH8 Teachers don+t know the real >nitty gritty@ gospel stuff. They know classical methods and can have you playing Beethoven but that won+t help your church playing. especially if you can+t help them. -etting to the ne*t level ain+t gonna happen by hanging around the local church musician. 7ou reali2e songs follow the same patterns and once you learn all the popular ones.'''/year music universities and have been sight reading all your life.earn All The "o$$on Prof"ssional Song %atterns* “And Once Again.. 7ou collect and get good at recogni2ing these common patterns as you learn more and more songs. 7ou+re not welcomed in their club. 1et+s face it. ML8 If you can afford the prestigious GJ'. 0or Musicians Who Want To . M08 $ost >inner circle@ advanced musicians don+t wanna show you anything. @KD@. 7ou use the number system to learn your chords so that you+re able to put them into patterns. I Will =e Opening The . They can try to repackage >blues@ and >soulful@ playing as gospel but it <ust ain+t the same. you+re set) There won+t be many new ones as every song will >borrow@ from the same pool.isc Musician Transfor$ation %rogra$ 0OR 0R)). “That2s Wh# I23e "reated The 7ospel Music Training " for full details. 7ou use both the number system and chords to form these common patterns that are found in most songs. /o3e$ber D.If you understand patterns and movements. 5isitI www. . That+s why they play it so fast and will rarely wait for you to write anything down or internali2e it. M/8 If they do show you something. all other elements point to this) 7ou learn your scales so that you+re able to know the number system.KK D@C.

. don+t get me wrong. I’m not int"r"st"# in a 4unch of %fr""4i" s""*"rs.KK %A"KA7) 0OR 0R)) CCC AS A “R)O%)/I/7* %)RK 0OR )-)R!O/) W O IS WI.. I wouldn+t even call it a >1. But you+ll have everything B!T the real nitty gritty stuff you need to play real gospel music.J'H students to <oin the waiting list... H hours..-to-U@8 resource we+ve ever released to date. It is truly >. $ "T % $F1#T# 3>. M'SI" TRAI/I/7 ")/T)R.'' and people are really making some type of investment8. @KD@.pril /'0'.. The last time we made this very same offer in .:: %. $ "T #1. it takes at least a week to sell out most new dvds I release 3but again.!=I %="..T#=. I+m guessing it+ll beat the H hour record the last launch set. P . that easily e*plains why it sells out in hours instead of days.@ Before this program. there has never been a >real@ gospel resource that delivers real immediate results.I/7 TO TR! T ) 7OS%).G0''. that+s 0/ discs.& I /ant s"rious /inn"rs onl0. I+m talking about the most comprehensive program we have. 7O 0AST. $ost of the time. -ON A VERY SERIO'S NOTE$ If 0ou’r" not s"rious a4out 0our 2la0in35 #o not 6oin an# canc"l th" !"r0 n"7t #a0 6ust to 3"t m0 2ac*a3". when it2s finall# reCreleased 8after @ #ears of being off the $ar&et:.skills you need to play in church.'' .B 6. /o3e$ber D.s $icheal Aackson says.* -34- .. J "#F. T )S) %A"KA7)S WI. These are the only resources that actually show the #9TI6# F6 %#"" from the basics and fundamentals all the way to advanced ways to play songs. people who were <ust a little late simply missed out8.9<#isc 2ac*a3"& isn’t "nou3h inc"nti!" to 3"t 0ou to r"all0 3i!" th" trainin3 c"nt"r a fair tr05 0ou’r" 6ust not s"rious a4out 0our 2la0in3 an# a22ar"ntl0 #on’t un#"rstan# ho/ much r"al musicians in!"st in trainin3 an# "#ucation to 3"t to th" l"!"l th"0’r" at. to U. . forcing over 0P. I2M 7I-I/7 AWA! T IS J@KK. they are being sold for GL'. It puts you in the fast lane and delivers immediate results. . “T IS IS IT. 7ou will gain skills.6. 37es. "ince this offer has been off the market for two years. There2s such a buLL about this alread# fro$ the past three launches a couple #ears ago that it will probabl# sell out on Thursda#..!9%H@ since it sold out almost instantly. Because I+m giving away TH# BI--#"T % !6"# I+5# #5#6 %6#.T# =5= % !6"#"..T#. not including any bonuses)8 It+s literally the BI--#"T.. in almost 0' years of being online.nd that+s e*actly why the +os2"l Music Trainin3 ("nt"r and M'SI"IA/ TRA/S0ORMATIO/ resources are in such demand.. we sold out our entire inventory in <ust T R)) O'RS. This is cl"arl0 to 2romot" m0 trainin3 c"nt"r an# if a 89::. I believe this time will be no different. if you take action. and tons of bonus discs and stuff 3.. A0T)R A.

.)3er# .')/"!* strategies discussed earlier. you+ll have that rock solid base upon which everything else will be built.-.fter this =5=. co3ers one ele$ent of the for$ula9 Fun#am"ntal Factor0 is where you master the “0'/.AM)/TA. 0. It+s going to take you through literally everything you need to know to build a solid foundation as a gospel musician. -35- .

Ear El"!ator covers the “)AR )00I"I)/"!* methods and concepts we delved into towards the end of this report. Where to find them. Imagine a =5= dedicated <ust to patterns.AM)/TA. 7ou+re going to learn #5#67 %H 6= used in gospel music. plus lots more. . demonstrations.* techni?ues and principles we talked about. 9ot you.A. How they+re formed.MA/! 7OS%).S A/. step by step. This will bring everything together by detailing how to use your ear to not only determine how songs are arranged and where they+re going.ll of them. If it+s common and used in gospel music.IT!* strategies we e*plored. M'SI"IA/S SKI% T )S) 0'/. Fattern Faradise will make this plain with tons of real-life e*amples.) %ATT)R/S T AT O""'R O-)R A/. after applying everything you+ve learned. . Chord County will delve into each one.I. (hor# (ount0 is where you master the “" OR. %R). . O0 R)%)AT).. That+s the beauty of VSong Station2 and by the end of this =5= alone. 7ou got to see a glimpse of how all chords are related. How they work. Son3 Station is where you master the “SO/7 SO. How to use them..I"TA=. Patt"rn Para#is" is where you master the “%ATT)R/ %RO0I"I)/"!* concepts discussed heavily in this report. It basically shows you how to take full advantage of your ear and how to -36- . I mean the THT < @E01::1:0. "OMMA/.nd if you+ve gotten 9# thing out of this free report. O-)R A7AI/.. but to create your own renditions and routes H: THE DPHT. you+ll be transforming a basic hymn that you learn from Vground 2ero+ into an advanced contemporary piece of art.. The best part is that you+re going to learn all the shortcuts. step by step. IT "A'S)S T )M TO =) ST'"K 0OR)-)R.1 B#-I99I9-. it should be thatI SO/7S AR) 0'.nd by the end of the song. Aust imagine a song being taught to you from the T T. it+s in this course. and illustrations. you have a beautiful masterpiece with advanced chords and movements that you+ve built up over time.

MA!=) The reason I say >$aybe@ is because we+ve only reordered 0. ..PL0 musicians on our mailing list 3almost 0'. bonus dvd footage.nd as of today. you don+t have to play your songs the same way every time. Thanks for reading and I hope you got a lot out of this) 1 sure got a lot out of creating it5$M$t -etting on the list is <ust that --."T#6. This package is loaded with everything you need to become a TRA/S0ORM). We also have over 0P. we have about H0.. That+s why we call it M'SI"IA/ TRA/S0ORMATIO/. And that2s <ust the . but you will get . It doesn+t guarantee you a place nor does it obligate you to actually get the course or <oin the training center.=5.. @KD@. before the general public. Aermaine -riggs -37- . TWI%#) 3Flaying by ear is about having freedom.ll the best. "o I+m e*pecting this one to definitely sell out <ust as fast.-..''' packages... and more...s 7ou also get audio cd companions.hearandpla#...8 Whewww) There you have it. . therefore increasing your chances of getting your seat and free package with all the e*tra bonuses and stuff..J'H musicians on the waiting list that missed out last time.. "ourses are being awarded on a firstCco$e. the same way. considering we+ve turned away so many people who were <ust minutes late.''' more than we had a few months ago when we sold out in H hours8. /o3e$ber D. firstCser3ed basis to new $e$bers.use what you know to 9#5#6 play the same thing.nd you+ll get all of it on Thursda#.. If you+re interested in getting your hands on this program.getting on the list. I strongly urge you to get on our Friority 9otification list immediately at http9MMwww. if not . M'SI"IA/.9%# notice of when they+re released.