FREE REPORT FINALLY REVEALS...

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 HearandPlay.com. 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 Youll

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'(())).hearandplay.com(mtreport.pdf* #!eport $2 % 2+ pages' http'(())).hearandplay.com(missingchapter.pdf* 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 )ont repeat that )hole ordeal here 2ut some fol3s )ill 3no) )hat 1m 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'.

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.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-

I+ve said this once and I+ll say it again... Whenever I release a report or lesson to the public for free, please don+t value it as ,6ust free. and throw it aside. .nd I know people do this because I+ll get the same ?uestions even on my private -$T% training calls... 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. 7eah, 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. But when I sit down and write something, I don+t make two piles and say >this is free@ and >this is a paid product.@ I give my all either way. 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. They say ,familiarity 2reeds contempt.. In other words, when people get >too much of you for free,@ they won+t respect you or they+ll devalue you or take you for granted. I+ve taken lots of advice, but I+ve gone with my heart when it comes to releasing free content online... and I+ve survived.8 .in+t it funny how we humans areD If we pay for something, we >may@ use it 3some people still won+t8. If we get it for free, there+s no urgency to get to it because it didn+t cost us anything. $.E# $# . F6 $I"#. ONT VIEW MY RESO'R(ES T)AT WAY. "o act as if you paid GH' to get this report. It, along with the other two I released, are worth .T 1#."T triple that amount, if not more. "o to celebrate my transition back to work, 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. "o with that, I+ll sayI )n<o#.

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

3There+s much more to that discussion but you+ll need to check out the first report to see what I said about it.8 But I+m not here to put advanced musicians on the spot again. 3"ome of them didn+t like how I e*posed them in my first report8. .fter all, not all of them are that way. There are some kind ones out there who don+t mind spending time with the up-and-comers. If you+ve found one, value them. "how them you appreciate them because from what I+ve heard time and time again all across the country, this is a rare trait. "o how do some musicians make it to an advanced, professional level while others stay stuck behind, thus creating this gapD Well, let+s look at the word 7A%* for some possible answers 3e*cept I+ll spell it 7A%%* for the purposes of my illustrations8. 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, whether you have a natural gift or get access to top players who share selflessly with you 3or both8, >5 is a re?uire$ent for e3er#one. 1et+s talk about this idea of ,giftedness. first. 08 !ou ha3e a gift I won+t kid you. There are folks who were born to do what they do. .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. I won+t say everyone has the >music gift.@ 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... whether we are naturally gifted at it or not. In fact, some of the best the world has ever known started off on the polar opposite of the >talent@ spectrum and worked their way up. It+s more than possible. But let+s talk about ,the gift.. 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. He gives one servant J talents 3e?uivalent of about GJ'''.'' today8. He gives another servant / talents. He gives the last servant 0 talent. -6-

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

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

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"ure, if you are e*tremely talented, you can go from virtually unknown right to the center of the circle. This happened to Aairus $o2ee 3the young guitarist in our upcoming advanced guitar course8. 6ight out of high school, his ama2ing gift simply >made room for him.@ He didn+t have to know an insider because after anyone heard him play publicly, they were hooked. 7ou can find samples of him on our youtube channelI httpI//www.youtube.com/hearandplay He forged his way into the insider circle, into the industry. He+s played for Aanet Aackson, Toni Bra*ton, Teddy 6iley, ,antasia, and many more. ,ew can do that. .nd what+s more, once you+re in, now you have access to learn from all the other top 0( musicians you+re hanging around. They call it shedding.* 7ou+re hanging out after a concert and you hear a new run or chord voicing they+ve played and you immediately say, ,hey> let me ha"e that.. .nd they gladly share with you because they know you can return the favor. They aren+t going to shed with you if you have nothing to bring to the table. It+s a catch-//. I mean, some will share because not all the top players e*hibit these characteristics... but I can tell you from e*perience --- it seems to come with the territory. Flay for a few celebrities and they start thinking they+re one too) $ost musicians would be laughed out of this circle unfortunately. They can sniff you out after <ust a few seconds of you playing. If you think you+re good because your non-musician Fastor has pumped your head up... well, you+ll get a reality check when you get around >real players@ from this group. If you+ve ever been to a musical, they+re lined up along the walls or even hanging out in the >musicians bo*@ or backstage if it+s a huge mega church. 9ow <ust imagine every city having one of these >circles.@ I only point out 1os .ngeles because obviously it+s a hub for music and entertainment and close to where I live. But even in small rural towns, there are the >known musicians@ and then there are the forgotten> >rest of them.@ What+s interesting, though, is that I+ve seen singers, who were >connected@ because of their brilliant singing ability, shift over to playing the keyboard from scratch... all because they had a professional head start from a fello) insider. I+ve been baffled to hear someone accompany themselves on the piano 3with very nice chords and progressions, not beginner stuff8 --- only to find out they+ve been playing for <ust : months. Have you ever seen celebrities bust out playing the piano and after years of following them, you never knew they played piano until nowD That+s because they probably haven+t played piano until 9 W) -9-

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

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

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

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"o with your gift 3large or small8, access to other people+s knowledge/e*perience, and good productive practicing, you+re sure to minimi2e the gapp.* But that+s up to 7 !. 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. nly you know if you+re la2y or disciplinedO smart or dullO up for the challenge or defeated alreadyO a loser or a winner, someone who is serious and committed to success.

%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...
If you+ve read my first two $usician Transformation reports, 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, don+t get me wrong. .ll J elements are important. $iss <ust one of them and you+ve got ma<or problems.

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

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It+s your <ob as an >ear musician@ to understand, play, and recogni2e those patterns when you hear them. .s simple as that. 1et+s start with the basics. When you+re listening to a song, your first goal is to establish the ma<or key of the song. I did a free H'K minute video tutorial on this topic at httpI//www.hearandplay.com/findingkey. nce you know the song is in, for e*ample, >% ma<or,@ now you have the right floor to press on the elevator. 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. They+re looking for someone in a 0/ story building. That person could be anywhere) .nd you+re most likely to burn out before you find him. "ame thing with music. ,irst establish what floor you need to be on. That will determine where you look for what you+re looking for. $ake senseD If you+re on the floor of >% ma<or,@ well, that will lessen the amount of options you now have available to you... thus making things a little easier. .nd it gets better. "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. But now I+m going to tell you to search this suite first... then that suite... then that room... then this room. Would that be helpfulD That+s e*actly what this chart does for youI

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But more on the chart in a second. !nderstand this firstI There are P uni?ue notes that make up a ma<or key. If you play a % ma<or scale 3% = # , - . B %8, there you go) ...the P notes that make up the ma<or key of %. 9ow each one of those notes carry a particular >role@ in %. ne of the notes can be considered >home.@ .nother one can be considered >away from home.@ .nother one might function as the >on my way home@ degree 3or tone8 of the scale. 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. This will shave years off your learning curve. In my first report at httpI//www.hearandplay.com/mtreport.pdf you learned there are chords most likely to occur on each tone of the scale. Here+s a recap of thatI 0st tone Ma<or chord /nd tone Minor chord Hrd tone Minor chord Lth tone Ma<or chord ,or e*ample, 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, this system tells you e*actly what chords are most likely to be played on each one of these bass notes. f course, this isn+t 0''(. 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.@ 7ou should always try them first. If they aren+t right, move on to other options) "o back to the bass line " 7 A 0 in % ma<or. Jth tone Ma<or chord 3or
dominant, when bigger8

:th tone Minor Pth tone .i$inished 3or half

diminished, when bigger8

The first thing I+d do is convert this bass line into numbers. In % ma<orI % is the QQQQ tone of the scale. - is the QQQQ tone of the scale. . is the QQQQ tone of the scale. , is the QQQQ tone of the scale. -16-

Here are the answersI In % ma<orI % is the 0st tone of the scale. - is the Jth tone of the scale. . is the :th tone of the scale. , is the Lth tone of the scale. ,rom there, I can use the chart to figure out which chords should be my first options to try. 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, I+m going to try % ma<or for that one. "ince the fifth tone of the scale also creates a ma<or chord 3or a dominant chord, which we also talk about in the first report8, I+m going to try - ma<or with that one. ,or the >.@ bass note, I+m going to put a minor chord there since >.@ is the :th tone of % ma<or and the :th tone will usually be minor. .nd lastly, for the >,@, I+m going to play , ma<or since it+s the Lth tone of the scale and will usually be ma<or. " $a<or 7 $a<or A $inor 0 $a<or Jth tone Ma<or chord 3or
dominant, when bigger8

:th tone Minor Pth tone .i$inished 3or half

diminished, when bigger8

What happens if one or more of these chords doesn+t sound rightD .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, try aI $inor chord =ominant chord 3Pth, ;th, 00th, 0Hth8 =iminished chord 3or =iminished Pth8 If using a minor chord doesn+t sound right, try aI $a<or chord =ominant chord 3Pth, ;th, 00th, 0Hth8 "o yes, it ain+t written in black and white but using these rules will save you a lot of time) -17-

But wait, there+s more) 3sounds like an infomercial huhD8 There are predicta2le mo"ements that happen over and over again in music. What that means is if you+re in .b ma<or but you happen to be on the Ath tone of the scale 3which is >,@8, there are only so many places to go from ,. f course, song writers can do what they want but e*perience shows the ne*t chord after , is usually going to be aI Chord 2ased on ,@2.

Then, if that doesn+t work, the ne*t option is probably aI Chord 2ased on ,C.

If that doesn+t work, the ne*t option is probably aI Chord 2ased on ,E2. or ,0.

If that doesn+t work, the ne*t option is probably aI Chord 2ased on , 2. or ,F2.

Where did I get those optionsD 1et+s turn to my >Fattern Fyramid@ chart below for the answerI

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I started at the base of the >Fattern Fyramid,@ which is fourths.* By far, this is the most common movement in music. 9ow, before I move any further, you can call them fourths or fifths. In fact, it depends how you look at it. "ee, going up a >diatonic@ fourth is % = # , B . ,

But notice what happens when I go down a >diatonic@ fifthI %

:ote' Fiatonic means related to the ma6or or minor scale. Do these inter"als a2o"e are fourths and fifths created 2y notes of the C ma6or scale #as opposed to other types li3e ,diminished fifths>. )hich use a ,C. and ,02>. a note outside the C ma6or scale*. "o going from % up to , is a fourth but going from % down to , is a fifth. But here+s the thing... When you play by ear, we sometimes go up to ,... we sometimes go down to ,... we have that freedom. We aren+t reading sheet music or borrowing someone else+s homework. 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, it+s all in how you look at it. 0or the purposes of this lesson, we will alwa#s be going '%. -ot itD "o % to , is a fourth because we will assume we+re always going up from one note to the ne*t. That makes % to - a fifth because we+re going up from % to -I % = # , -.

3But since I+ve put you >up on game,@ you know that this can be considered a fourth if you go down from % to -I % B . -8. Aust not today. Back to >fourths.@ This is $usic2s fa3orite $otion. $a<ority of the songs you hear move in fourths. 7up, it+s true. If you+re sitting around twiddling your thumbs talking about ,1 cant pic3 up songs... they too hard>. is it because you don+t understand the po)er of fourthsG In the ne*t couple of pages, I+m going to e*plain each of theseI a8 ,ourth movement b8 ,ifth movement c8 "econd movement 3aka N >stepwise motion@8 d8 Third movement -19-

0O'RT

MO-)M)/T9

,or this section, I+m going to use a chart you+ve probably seen in past lessons. It+s the famous, %(ircl" of Fifths -or Fourths..&

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, obviously we+re going to focus on the >fourths@ side. We+re going to go the opposite direction of a clock... counter-clockwise. That is, fromI " 0 =b )b Ab .b 7b = ) A . 7

These are what we call fourth mo"ements #or fourth inter"als*. 6egardless of what key you+re in, this will always be your most popular movement in songs. In other words, >%@ will always flow to >,@ the most. If you count up every song ever made, you will find that after any kind of >%@ chord is played, the probability of an >,@ chord coming ne*t will be higher than any other note. ont matt"r /hat *"0 0our" in. .fter >%@ comes >,.@ Foint blank. -20-

.fter >,@ comes >Bb.@ "ame for all the other notes, too. "ure, they carry different >roles@ in different keys. In the key of % ma<or, based on what we+ve learned, % is the first tone of the scale so it+s most likely to be ma<or. , is the Lth tone of the scale so it+s most likely to be ma<or as well. "o you+re most likely to get a % ma<or chord moving to an , ma<or in this key. But in the key of .b ma<or, % is the Hrd while , is the :th. .ccording to what we+ve learned, that would make both of these chords >minor@ in ?uality. In this case, % minor would move to , minor most likely because those are the roles these tones take on in the key of .b ma<or. f course, there are e*ceptions. In the same key of .b ma<or, the % minor might be changed to % ma<or to give a stronger connection to , minor. That happens sometimes too. 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. 6ememberI Trial and error. What+s important is that you understand the power of , !6TH", regardless of what key you+re in) Here are some e*amples of patterns that utili2e fourth movements. . >/-J-0@ is a common progression that ends a song. 7ou+ll find it at the end of almost #5#67 song you play. 3It+s that popular8. In the key of % ma<or, a >/-J-0@ progression will use these bass notesI . B 7 B ". Well... circle an# three notes that are neighbors on the circle chart and there2s #our @C1CD; -o ahead) Try it) %ircle the keys of %, ,, and Bb on the circle 3remember... we+re going % !9T#6%1 %EWI"#... the opposite direction of how a clock would tick8. %, ,, and Bb make up the keynotes of a >/-J-0@ in the key of Bb ma<or 3see illustration on ne*t page8...

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%ircle another H notes... how about )b, Ab, .b.

Those three notes make up a >/-J-0@ chord pattern in the key of =b ma<or. I mean, 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;.

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.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,@ <ust apply the right chords. ,or e*ample, when I circled #b, .b, and =b, that gave me a >/-J-0@ in the key of =b ma<or. )b QQQQQQQQQQ chord RRR Ab QQQQQQQQQQQ chord RRR .b QQQQQQQQQQQQQ chord !sing the information you <ust learned, ask yourselfI What chord is most likely to occur on the /nd tone of the scaleD .ccording to what we <ust learned, a $inor* chord. .sk the same ?uestion for the Jth tone. .nswer S $a<or or do$inant 4 chord. .nd ask the same ?uestion for the 0st tone of the scale 3which is really easy because those are mostly .1W.7" ma6or chords8. )b $inor or )b $inor4 BBB Ab $a<or or Ab 4 BBB .b $a<or or .b $a<or 4 .nd the cool part is... if these chords don+t work, you can always change them around until you find the right chords that do. If the #b minor chord doesn+t sound right, 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. Here+s a bigger chord pattern. It utili2es almost every tone of the scaleI

" R # R . R = R - R %. -uess whatD #*cept for the starting note >%,@ 3and its movement to >#@8, every tone in this pattern moves according to the circle of fourths chart --- we call this ,circular mo"ement.. 9oteI The % to # is a third... it+s in our pattern pyramid but not as common as fourth movement, as you can see. The ratio is L to 0 in this e*ample as we have L movements that -23-

move in fourths to only one movement that moves in thirds. .nd in my e*perience, it+s pretty much this way across the board. Aust pop out your circle and find where these notes appear.

.ma2ing) They are all ne*t door neighbors) What if I told you most songs move in this same wayD .gain, we+re back to the ,80(20 Pareto Principle.. I can+t tell you if it+s e*actly &'( of songs but I+ll estimate that ma<ority of songs move in this ".$# way --- circularly --- especially if they sound predictable and like you"e heard them 2efore. In fact, 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. "o instead of thinking of the key of " $a<or asI

,rom " to .... . to )... ) 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 --- B!T THI" TI$#, in the actual way most songs flowI -24-

The " "ircular Ma<or Scale* 3my own term8... BR#R.R=R-R"R, PR HR:R/RJR DR L

I know this is way different than you+re used to thinking about the scale... but basically, it+s the #T.%T 9 T#" 3nothing left out8 but simply played in the same order as the circl" of fifths$

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But here+s the ama2ing part... When you learn every ma<or scale this way 3which isn+t hard because they all overlap8, you+re already training your brain to think in this new musical direction. .nd since I estimate ma<ority of songs move >%I6%!1.617@ 3in the same direction shown above8, you are tapped into something that few >ear@ musicians know or understand. Aust for fun, in the key of % ma<or, here are some cool chords to play over the >P-H-:-/-J-0-L@ pattern 3aka N $y >circular scale.@8 Tone M P H : / J 0 L Bass note 3left hand8 B # . = % , %hord 3right hand8 .K=K, -M K = K , -K%K# ,M K % K # , K Bb K = # K Bb K = #K.K%

When you+re playing this, doesn+t it feel like a circleD #ven if you didn+t have all the great knowledge you+ve learned in this report, 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 ,Iermaine> 1 solemnly s)ear to analyJe all the songs 1 3no) and to 2e a)are of all the circular ,fourth. mo"ements 1m already playing. nd )hen learning ne) songs> 1 )ill remem2er this magical circular direction and try it first )hen 1m attempting to figure out )hich chord to play ne?t. 1 no) 3no) there is a method to the madness..

Next up:

FIFTH MOVEMENT

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0I0T

MO-)M)/T9

7ou hear a lot of fifth movements in pop and rock music. %onsider the circle of fifths again.

But this time, we+ll actually go in the same direction a clock would 3as opposed to going the opposite direction when we studied fourths8. While this movement isn+t as popular as its fourth counterpart, you+ll still find it represented in many songs. Haven+t you heard the following progression in a ton of rock songsD 3-o ahead and try it8... " $a<or 3% bass /// % K # K -8 7 $a<or 3- bass /// - K B K =8 . $inor 4 3= bass /// , K . K %8 A $inor 3. bass /// # K . K %8 %ome on... 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-

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

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#*ampleI ,<ean on Me. in C ma6or #2ass notes* >When N you+re N not N strong. I+ll N be N your N friend@ " . ) 0 0 ) . " "ee how the bass notes moved in stepsG What+s more, you can actually take the chords you learned earlier and place them on these bass notes, giving youI >When N you+re N not N strong. I+ll N be N your N friend@
"$a< .$in )$in 0$a< 0$a< )$in .$in "$a<

We call these diatonic chords because they are naturally created by the scale and use only notes from the scale. #ventually, your <ob is tackle all the different types of second intervalsI ,ocus on dissensions. 1ike 0-P, P-:, :-J, J-L, L-H, H-/, /-0. Then on ascensions. 1ike 0-/, /-H, H-L, L-J, J-:, :-P, P-0 Then on com2inations. 1ike balladsI 1/K/A/7/&/C/2/7/1 3Believe it or not, <ust this string of bass notes work for >Aesus is the .nswer,@ >9o Weapon,@ >Aesus is 1ove,@ and many more. HI9TI !se diatonic chords on these tones and you+ll be able to play all these songs8.

:ote' The num2ers come from the scale. 1f youre in C ma6or> a ,1/K. is simply ,C. going to ,@.. ,K/A, is ,@. going to , .. ,2/C. is ,F. going to ,E.. Thats )hy its so important to 3no) your ,scales as num2ers. #all co"ered in the first t)o reports*. MIEI/7 ST)%WIS) MOTIO/ A/. "IR"',AR %ATT)R/S "ay you+ve picked out the bass to a song in the key of %. "ay your bass isI " B = B A That means it starts on some type of chord on "... then moves to some type of chord on =... then finally to some type of chord on A. That+s clearly stepwise motion or second inter"als. % moving right ne*t door to B... and B moving right ne*t door to the ne*t tone of the scale, .. Enowing what you know about circular movements and how popular they are, you can insert chords into this progression and it would sound even better) -29-

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

It takes the ear to actually hear that the >#P@ 3aka ># dominant P@8 works better than the ># minor P.@ .nd if both can work, simply use one the first time around and use the other option when you repeat the song... %,A!I/7 =! )AR IS A,, A=O'T A-I/7 O%TIO/S.

h yeah, for some of you who don+t know your chords yet 3cough cough, 7 ! 9##= TH# 0/=I"% $!"I%I.9 T6.9", 6$.TI 9 % 11#%TI 9... and specifically the >%hord %ounty@ dvd8, here are the chords written outI " $a<or 49 % on bass /// B K # K = halfCdi$ 49 B on bass /// . K = K , ) do$ 49 # on bass /// -M K B K = K # A $inor 49 . on bass /// - 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. MO-)M)/T9 This is the least popular out of the four main types but it still occurs a lot. If you know your intervals, you+ll know there are ma<or thirds and minor thirds. When you put a >ma<or@ or >minor@ in front of it, we call this being specific 3aka N >specific intervals@8. When you leave it bare like I have for the title of this section, we call this being generic 3aka N >generic intervals@8. When you leave it generic, you+re basically saying >any type of third.@ In any given key, there is a shortcut to finding thirds. Here+s what you do... H'ST SKI% A S"A,) /OT); 7up, <ust skip a note in your scale and you+ve got yourself a third interval.

-31-

The e*ample above uses the notes of the " $a<or scale but the concept is the same in every key. Aust skip a note of the scale 3not <ust any note... you must be skipping one note of the ma<or scale8 and you+ll be playing some type of third --- either a ma<or third or minor third. ,or e*ample, >%@ to >#@ is a ma<or third but >=@ to >,@ is a minor third.
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, it+s pretty simple. $a<or thirds have I half steps between the notes. $inor thirds have 5 half steps. If you count up the distance between >%@ and >#,@ you+ll notice L half steps. >=@ to >,@ <ust has H. 6egardless of whether ma<or or minor, they+re all T IR.S. "o when songs move in this direction 3for e*ampleI either from >,@ to >.@ or even the opposite direction from >.@ to >,@8 this is considered third mo"ement. Here+s a common progression that uses third movement 3e*cept the movement to the last chord, which is step)ise motion8I " $a<or A $inor 0 $a<or 7 $a<or

9otice >%@ going down to >.@ is a third 3it skips a scale tone, >B@8. >.@ going down to >,@ is also a third 3it skips a scale tone, >-@8. The only ,outsider. is >,@ going to >-,@ but since we+ve studied second intervals, we understand , to - is common too) It+s stepwise motion. "o we+re prepared for it too) MIEI/7 A,, MO-)M)/TS .t the end of the day, you+re going to see all these movements 3fourths, fifths, seconds, thirds8 mi*ed in with each other. . song isn+t A!"T going to have fourth movements or A!"T fifth movements. $usic mi*es all of these. 9ow, some will occur more than others. That+s why we+ve ranked them the way we have. But at the end of the day, your goal is to understand and be able to recogni2e these movements. -32-

If you understand patterns and movements, you+ve unlocked the key to playing 2y ear. With the e*ception of a few key things, all other elements point to this) 7ou learn your scales so that you+re able to know the number system. 7ou use the number system to learn your chords so that you+re able to put them into patterns. 7ou use both the number system and chords to form these common patterns that are found in most songs. 7ou collect and get good at recogni2ing these common patterns as you learn more and more songs. 7ou reali2e songs follow the same patterns and once you learn all the popular ones, you+re set) There won+t be many new ones as every song will >borrow@ from the same pool.

That2s Wh# I23e "reated The 7ospel Music Training "enter... 0or Musicians Who Want To ,earn All The "o$$on Prof"ssional Song %atterns* And Once Again, I Will =e Opening The .oors To This )Gclusi3e Training "enter And 7i3ing Awa# M# J@KK.KK D@C.isc Musician Transfor$ation %rogra$ 0OR 0R));*
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#, /o3e$ber D, @KD@. 5isitI www.hearandplay.com/mt for full details. 1et+s face it. -etting to the ne*t level ain+t gonna happen by hanging around the local church musician. M08 $ost >inner circle@ advanced musicians don+t wanna show you anything, especially if you can+t help them. 7ou+re not welcomed in their club. M/8 If they do show you something, they aren+t e*pecting you to pick it up. That+s why they play it so fast and will rarely wait for you to write anything down or internali2e it. MH8 Teachers don+t know the real >nitty gritty@ gospel stuff. They can try to repackage >blues@ and >soulful@ playing as gospel but it <ust ain+t the same. They know classical methods and can have you playing Beethoven but that won+t help your church playing. ML8 If you can afford the prestigious GJ','''/year music universities and have been sight reading all your life, go for it) Frepare a great audition piece and get your financial aide together 3unless you+re rich8. .nd still, they won+t be focusing on the -33-

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

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

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

use what you know to 9#5#6 play the same thing, the same way... TWI%#) 3Flaying by ear is about having freedom... you don+t have to play your songs the same way every time.8 Whewww) There you have it... And that2s <ust the .-.s 7ou also get audio cd companions, bonus dvd footage, and more. This package is loaded with everything you need to become a TRA/S0ORM). M'SI"IA/. That+s why we call it M'SI"IA/ TRA/S0ORMATIO/. .nd you+ll get all of it on Thursda#, /o3e$ber D, @KD@...

MA!=)
The reason I say >$aybe@ is because we+ve only reordered 0,''' packages. .nd as of today, we have about H0;,PL0 musicians on our mailing list 3almost 0',''' more than we had a few months ago when we sold out in H hours8. We also have over 0P,J'H musicians on the waiting list that missed out last time. "o I+m e*pecting this one to definitely sell out <ust as fast, if not ,."T#6, considering we+ve turned away so many people who were <ust minutes late.

"ourses are being awarded on a firstCco$e, firstCser3ed basis to new $e$bers...

If you+re interested in getting your hands on this program, I strongly urge you to get on our Friority 9otification list immediately at http9MMwww.hearandpla#.co$M$t -etting on the list is <ust that --- getting on the list. It doesn+t guarantee you a place nor does it obligate you to actually get the course or <oin the training center, but you will get .=5.9%# notice of when they+re released... before the general public, therefore increasing your chances of getting your seat and free package with all the e*tra bonuses and stuff. Thanks for reading and I hope you got a lot out of this) 1 sure got a lot out of creating it5 .ll the best, Aermaine -riggs

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