vadimwit
130 lines
9.9 KiB
Markdown
130 lines
9.9 KiB
Markdown
# Learn Curriculum — Intermediate, Jam-Ready Players
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Research-backed training repertoire for the Learn section. Companion to [`GOAL.md`](../GOAL.md) Part 2. Audience: players who know the basics and can survive a jam — the goal is making them better *in* the jam. Not beginner material.
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Across guitar, piano, and bass pedagogy the intermediate→advanced jump converges on four pillars: **instrument liberation** (play anything anywhere), **playing the changes** (chord-tone awareness), **ensemble skills** (space, register, pocket), and **functional ears** (hearing 1-5-6-4). The per-instrument curricula below feed both the Learn UI and the knowledgebase (see `docs/kb-plan.md`).
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---
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## Guitar
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### Skill taxonomy (rough order)
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**Tier A — Fretboard liberation**
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1. CAGED system fluency — locate any chord in 5 places instantly (Fretboard Logic, Pickup Music)
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2. Triads on string sets — major/minor triads + inversions on strings 1-3, 2-4, 3-5 (Justin Guitar Grade 5, Leavitt Vol. 2)
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3. Connecting pentatonic boxes — the box 2↔3 seam is the documented weak point
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4. Scale-over-chord mapping — seeing the chord *inside* the scale shape
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**Tier B — Playing the changes**
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5. Chord-tone / target-note soloing — land on a chord tone on beat 1 of each change
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6. Guide tones (3rds & 7ths) — the 7th of one chord resolves to the 3rd of the next
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7. Phrasing across positions
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**Tier C — Ensemble skills**
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8. Comping with small triad voicings — stay out of the vocalist's/keys' register
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9. Internal time — metronome on beats 2 & 4, then no click (Tomo Fujita's core emphasis)
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10. Ear-led playing — "let your ears lead you instead of your eyes" (Fujita)
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**Tier D — Functional ears**
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11. Progression recognition by ear — track the bass line first
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12. Modal awareness — how Dorian/Mixolydian overlap shapes you already know
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13. Transcribing & daily riff-writing — the recurring plateau fix
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### Top drills
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1. **Triad voice-leading over 12-bar blues** — only close triads on one string set; on every change move each finger to the *nearest* note of the next triad. Forces inversions + minimal-motion voice leading at once.
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2. **One-CAGED-position soloing** — improvise using only one grip's chord tones + surrounding scale notes; shift position each chorus. Welds chord, arpeggio, and scale into one visual unit.
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3. **Target-note drill** — first note after each chord change must be the 3rd (then 7ths, then 7th→3rd resolutions); pentatonic filler in between. Pure pentatonic playing suddenly "follows the changes".
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4. **Pentatonic seam drill** — ascend box 1, exit through a named seam note into box 2, etc. Shifts become melodic destinations.
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5. **Metronome on 2 & 4** — click as the snare backbeat; progress to click once per bar, then none.
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6. **Comping ladder** — comp behind a recorded soloist using only 3-string triads above fret 5, varying rhythm/dynamics, never register-clashing.
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7. **Daily progression dictation** — 10-15 min naming I-IV-V vs vi-IV-I-V vs ii-V-I from songs, bass line first.
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### Sources
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Fretboard Logic (Bill Edwards) · Justin Guitar Grades 4–6 · Tomo Fujita *Accelerate Your Guitar Playing* (Berklee) · Leavitt *A Modern Method for Guitar* Vol. 2 · Absolutely Understand Guitar · Pickup Music CAGED pathway · fundamental-changes.com (guide tones) · TrueFire (box connection, plateaus) · Premier Guitar "Rhythm Rules" · zotzinguitarlessons.com (triads in 12 keys) · ToneGym / tonedear.com · stringshock.com & jazzguitartoday.com (jam etiquette)
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---
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## Piano / Keys
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### Skill taxonomy (rough order)
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**Tier 1 — Harmonic vocabulary**
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1. Triad inversions in all 12 keys — grab any chord near the current hand position
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2. Voice leading — minimum-distance inversion choice; the biggest "amateur → pro" jump
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3. Shell voicings (root–3–7) — light, clear, gateway to comping (Open Studio, PianoGroove)
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4. Sus2/sus4/add9 colors and slash chords — pop/worship vocabulary
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5. Rootless voicings — Type A (3-5-7-9), Type B (7-9-3-5); top note between C4–C5
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**Tier 2 — Rhythm & ensemble role**
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6. Comping rhythms — Charleston, reverse Charleston, Red Garland pattern, anticipations
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7. Register discipline — LH stays above ~G3 when a bassist is present
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8. Density discipline ("rule of 1") — in a 5-piece band, play 1/5 of the music
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9. Hand-role splitting — LH harmony/groove anchor, RH color and answers
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**Tier 3 — Functional/ear skills**
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10. Thinking in numbers (Nashville Number System / Roman numerals)
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11. Progression recognition by ear — bass line + emotional flow of each degree
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12. Transposition fluency — known songs in all 12 keys via the number method
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13. Sight-comping — realize an unfamiliar lead sheet at tempo (Berklee keyboard method)
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**Tier 4 — Bandstand**
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14. Form-keeping under pressure — never lose bar 1
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15. Improvising over changes — chord tones → pentatonics → scale tones
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16. Repertoire in 2-3 keys from memory
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### Top drills
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1. **Voice-led progression loop in 12 keys** — I–V–vi–IV with minimum hand movement (C → G/B → Am → F/A), through the circle of fifths. Self-grading: you can see and hear when you jump.
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2. **Shell ii–V–I cycle** — root+3+7 through all keys, alternating types so 3rds/7ths swap and resolve by half-step. The core voice-leading mechanic made physical.
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3. **Charleston metronome ladder** — one syncopation pattern to automaticity at 80→160 BPM; comping failure in jams is usually rhythmic, not harmonic.
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4. **Backing-track subtraction** — chorus 1 whole notes only; chorus 2 LH only above G3, no roots; chorus 3 RH colors only; chorus 4 two hits per bar. Simulates bandmates occupying frequency space.
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5. **Bass-line ear training** — hum the bass note of each chord in a pop song, convert to numbers, play it.
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6. **One song, twelve keys** — number-chart a known song, new key daily.
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7. **Cold lead-sheet sight-comping** — slow metronome, once through the form, never stopping. Rehearses the actual jam failure mode.
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### Sources
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Berklee Online Keyboard Method · Mark Levine *The Jazz Piano Book* · Open Studio Piano Pathway · PianoGroove (rootless voicings, comping) · The Jazz Piano Site (jam prep) · Piano With Jonny (voicings, transposing) · Jens Larsen (comping rhythms) · Pianote (band guide, NNS) · Worship Online / Musicademy / Sweetwater (band role) · ToneDear / ToneGym / Musical U / trainear.com (ear training)
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---
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## Bass
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### Skill taxonomy (rough order)
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1. Fretboard zone mastery — every note to fret 12, lines through each zone (Friedland)
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2. Root-fifth-octave vocabulary — the "safe but musical" jam fallback
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3. Chord-tone fluency — R-3-5-7 of maj/min/dom/m7♭5 anywhere (TalkingBass: chord tones *before* scales)
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4. Scale-tone vs chord-tone discrimination — outline on strong beats, connect on weak
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5. Approach-note technique — chromatic from above/below, W|H|H walkup, dominant approach
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6. Walking bass construction — root on 1, chord tones on 1 & 3, approach into the next root on 4
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7. Subdivision command — straight 8ths / swing / shuffle / 16th funk, switching mid-groove
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8. Pocket / drummer lock — kick matching, ghost notes, dynamic mirroring
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9. Functional ear training — root movement, I/IV/V/vi by function
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10. Real-time harmonic prediction — the V "pushes home", reacting within one pass of the form
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11. Dynamics, touch, space — most cited intermediate→pro separator
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12. Fills and form awareness — fills at bars 4/8 phrase boundaries
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### Top drills
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1. **Root-only song stripping** — play only the root of each change by ear; add 5ths and octaves on later passes. Strips songs to harmonic skeleton.
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2. **Arpeggiate the progression** — R-3-5(-7) over I-V-vi-IV in several keys, then inversions, then other neck zones.
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3. **W|H|H chromatic walkup** — between chords a 4th apart: root, whole, half, half (C-D-E♭-E→F). Formulaic forward motion that telegraphs the next chord.
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4. **Walking 12-bar / 1-6-2-5 loop** — a decision every beat about chord vs passing tone (Friedland, SBL 5-step formula).
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5. **2-bar loop challenge** — one groove for 5+ minutes changing only tone/dynamics/note length. Pocket training; exposes drift.
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6. **Subdivision switching** — 2 bars 8ths / 2 bars 16ths at 60-80 BPM; click on 2&4 only; mute the click 4 bars and check.
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7. **Sing-then-play root movement** — sing the roots before touching the bass, then 3rds/5ths/7ths.
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### Sources
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Scott's Bass Lessons (Players Path, Groove Trainer) · TalkingBass Chord Tone Essentials · Ed Friedland *Building Walking Bass Lines* · Hal Leonard Bass Method · Berklee Practice Method: Bass · Bass Musician Magazine (drummer lock) · Premier Guitar (jam survival) · StudyBass · Learn Jazz Standards · Jazz Night School (chromatic 4) · onlinebasscourses.com · Functional Ear Trainer
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---
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## How the app supports this (detection-powered training)
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These map to GOAL.md L1–L4; the app's unfair advantage is that it *hears* the player.
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1. **Target-note highlighting** — on each detected chord change, flash the new chord's 3rd/7th on the fretboard/piano (guitar drill 3, piano drill 2). Later: score whether the first detected note after the change was a chord tone.
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2. **Voice-leading coach (piano view)** — highlight the *nearest inversion* to the previous chord, common tones marked "hold"; score total semitone travel per progression.
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3. **Next-chord preview tier (bass)** — when a loop is detected, highlight the upcoming chord's root plus its chromatic approach notes a half-step above/below — the walking-line scaffold, one beat ahead.
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4. **Progression ear-trainer on your own jam** — hide the chord banner, ask for the numbers (vi-IV-I-V), reveal. Uses chord history + `toRomanNumeral`; contextual beats abstract drills.
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5. **Pocket report** — extend the onset/BPM histogram to show beat-phase drift (rushing/dragging), plus a 2-&-4-only click synced to the detected tempo.
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6. **Mode-difference teaching** — when the user manually switches mode (the K-S limitation), briefly highlight the difference notes (minor → Dorian = raised 6th).
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