FREE GUIDE...

FINALLY EXPOSED! The Hidden, Underground Syste Pro!ession"# $os%e# &usi'i"ns H"(e )een *ee%ing To The se#(es+++ Th"t ,i## Inst"nt#y Pro%e# Your P#"ying To The Ne-t Le(e# TODAY+++.
5 Elements You Need To Now Know To Master ANY Instrument By Ear

Fundamental Fluency Chordal Command Pattern Proficiency Song Solidity Ear Efficiency

The Musician Transformation Next Level Troubleshooting Chart. Copyright 2 !2 "earan#$lay.com. %ll &ights &eserve#.

Using this chart, you can easily find and fix your most frustrating problems hindering you from getting to the next level in your music playing. You ust h"(e "## / e#e ents to su''eed+ Missing ust one element !ill lead to the problems on the right side of the chart.

0e"d this entire re%ort to discover, step"by"step, ho! you can use this Musician Transformation system to s#yroc#et your playing today... -1-

W at You!ll D"s#o$er Ins"de% The re"son I 're"ted this 1e2site and !hy this free guide !ill be the ost I&PO0TANT resource you$ll ever read to prepare you for incredible success in your playing. The /34 ye"r o#d #ingering %ro2#e o! the 'hur'h usi'i"n industry and !hy no one can get the proper help they need from fello! local musicians% &$ll finally uncover !hy most musicians 'not all( !ant you to fail and !hy they !ill go to great lengths to ma#e sure you don$t )steal* !hat they #no!... ,h"t the se'ret !or u#". 5FF 4 66 4 PP 4 SS 4 EE7 st"nds !or and ho! you can immediately put this system to !or# for you to transform your gospel music playing today+ '& #no! it loo#s complex but it$s actually really simple and &$ll prove it to you in this report...( ,h"t you '"n st"rt doing tod"y to strive for transformation in your gospel playing...

P"rt One8 ,hy I 6re"ted This $uide+++ And This ,e2site For Th"t &"tter!
,i, my name is -ermaine .riggs and for the last /0 years, &$ve been teaching musicians all around the !orld ho! to play music by ear !ith my !ebsite ,earandPlay.com. 1nd if you stic# !ith me, & promise & can help 23U do the same. 4hen & first started out, & couldn$t have imagined ho! helpful and popular this !ebsite !ould become to so many people. & !as ust /5 years old and had been teaching neighborhood #ids in my community ho! to do !hat & had gotten pretty good at since 6 """ playing !hatever & heard on the radio, on albums, and in church... ALL )Y LISTENIN$+ & hadn$t ta#en a lesson. & didn$t #no! ho! to read sheet music. My mom didn$t send me to some fancy conservatory. &$d simply taught myself ho! to hear something and 7uic#ly play it. & lived !ith my mom and sister """ and for a good !hile, my grandmother. 4e practically live# in the church, attending 8 days a !ee#. 1nd after the church found out & could play, & immediately got a 9/:;!ee# ob playing for the youth choir. '<3==E<2 these days+ =ut & !asn$t complaining """ that !as good enough for me at /: years old(.

1s the years progressed, & got the opportunity to play for many churches, !eddings, organi>ations, school bands, even funerals. & !as #no!n as the young !under#ind !ho could pic# out ust about anything someone brought me. =ut soon, ust being able to do it !asn$t enough for me. & sought to understand !hat & !as doing, ho! it all !or#ed, and ho! to teach it to others since parents !ere no! approaching me left and right to teach their children. ,ere & !as several years later at /? """ a 'i# myself """ teaching other #ids. & had a student as young as ? and as old as 0@. Perhaps & !as born to be in business because & immediately reali>ed & !as ta#ing every student do!n the same road and could save a lot of time and energy if & made little !or#boo#s they could fill out and learn from !ithout me having to do the same thing over and over. & guess the only problem !as the !or#boo#s !ere so helpful & didn$t even really have to personally guide them as much as & did before. & !ould ust tell them to continue !here !e left off last time. Evidently the parents thought & !as being la>y or unengaged and decided to #eep the !or#boo#s, but not me+ 3ne parent, though, gave me an idea to sell the !or#boo#s. So that$s !hat & did+ & put up fliers in Aaundromats and grocery stores and thousands of orders started pouring in. I ,ISH+ Bidn$t happen 7uite that !ay. &t !as more li#e :. Cada. Dilch. Eventually, & got the idea to try the internet. 1nd that$s !hat & did. Ehe exact date !as 1ugust ?, 0:::. &t !as a Sunday evening. 1nd that$s !hen ,earandPlay.com !as born+ 1nd despite soon going off to college to attend the University of California, &rvine and finishing !ith an undergraduate la! degree F years later, & remember the day & ripped up my Aa! school application to return to my lifelong passion """ ma'ing peoples lives happier an# #reams come true by teaching them music. 1nd guess !hatG & haven$t loo#ed bac# since. Fast for!ard some years and !e$ve helped millions of people around the !orld !ith our extensive resources, !e service hundreds of thousands of subscribers, and !e provide continuing education to tens of thousands of customers. 3ur vision is to (Change The )ay The )orl# Learns Music *ne $erson %t % Time.+ &$m living my dream helping people to reali>e theirs. 1nd & love it. So !hy do & tell you all thatG =ecause !ithout that bac# story, you !ouldn$t be reading this profound guide right no!. 4hat you hold in your hands is my best !or# to date. 1nd & guarantee you, if you do !hat is included herein, you$ll experience &CC<EB&=AE <ESUAES. -3-

=efore !e ump in, though, & !ant you to meet my family. & am the husband to an incredible !oman, my best friend """ my high school s!eet heart !ho helped me bind all those !or#boo#s that got me fired bac# then """ Sarah. Eogether, at the time of this !riting, !e have 0 beautiful young daughters, -adyn and Aayla, and a handsome son, the Hbaby,H =rendan. 4e reside in southern California.

So that$s me. Co! let$s tal# about you and !hy & created this guide. & created this guide for t!o types of musicians. 9: ; For the usi'i"n 1ho is stu#&.

2ou already play. Perhaps you$ve played for years but you$re C3E !here you !ant to be. Something is holding you bac# from getting to the next level and you don$t #no! exactly !hat it is. Maybe you$ve been stagnant at the same place for years... or can$t get out of playing everything the same old !ay. 2ou !ant change and you !ant it no!.

&$ve got you covered in the ensuing pages. 9< ; For the %erson desiring to get st"rted the 0I$HT 1"y, and doesn$t have the time to !ait years to see results. My methods speciali>e in s#ipping all the fluff and stuff you don$t need. Aisten, people study music in fine educational institutes for years 'some pay up to 9I:,:::;year to do it too+(. &t$s a vast language, & !on$t #id you. =ut you can thro! a lot of it out the !indo! if you$re dream is to simply )play*... sound good... and sound good C34+ (,onian-+ (.orian-+ ($hrygian-+ Jinsert your o/n gree# term here K, those things are cool... and hec#, & can sho! you ho! to play all that stuff... but do you need to be 7uoting these fancy names to be up and playing tomorro!G C3. 3f course not. &$m going to sho! you !hat it ta#es to put you on the fast"trac# to success. ,o! to filter through the tens of thousands of musical terms and techni7ues to find the stuff you really need C34. &f you$re li#e most people, you$re at a point in your life !here you don$t have the time, resources, patience, and energy to get it !rong. Lids can ta#e piano lessons for over a decade and go at their o!n pace. For adults, the program needs to be a little different. 3ne si>e does not fit all. &f that$s !hat you !ant, stic# !ith me. My school teachers al!ays told me & had a #nac# for brea#ing things do!n to their simplest parts. I didn=t 2e#ie(e the + & thought everybody thought li#e that but apparently they don$t """ and apparently music teachers and 01 2year music universities don$t either. Ehey ma#e music as hard as studying heart surgery. 1nd music shouldn$t be. Cot if & can help it. &$ve bro#en !hat you need to #no! into I #ey elements """ >ust !i(e things+ Ehin# you can focus on ust five thingsG & thin# you can. 1fter all, it$s either my I things or their thousands of fu>>y, complicated, useless theories 'at least, useless to the #o3it3yourself players li#e you and &(. So put on your seat belt. 4e$ve got a lot of !or# to do+

-5-

P"rt T1o8 The /34 Ye"r O#d Pro2#e O! The ' ur# Mus"#"an Industry And ,hy &ost &usi'i"ns Are Stingy
& first !rote about this over 6 years ago !hen & released our first .ospelLeys video course. 1nd it$s bad. <eally bad. Co!, & can$t say all )advanced* gospel musicians are guilty of this but a lot are. 1nd &$m told it$s even !orse in some parts of the country '...maybe yoursG(. & mean, some church musicians literally cover up their chords !ith the other hand or strategically maneuver their bodies to hide their chords... in fear of you stealing them and getting better than them. Some !ill even stop playing as soon as you approach them to see !hat they are doing 'even if you$re ust complimenting them on their s#ills(. Ehey$ll ust get up. MEnd of conversationN. &$ve even seen musicians play very nice chords and lic#s one moment and once they notice another musician approaching 'or anyone !ho loo#s li#e they could be a musician(, they start playing simple chords and (#umbing+ do!n !hat they$re playing. Ehen there$s the line, (ahhh- , cant sho/ you anything... you alrea#y 'no/ everything4+ or (, aint #oing anything over here... ,m 5ust messing aroun#+ Mend of playing... maybe even the end of the conversationN. 3h, & almost forgot... &f they do sho! you a chord or t!o, they do it so fast that they #no! you$ll never learn it. 1nd if you manage to pic# up one or t!o of the notes, they #no! you !on$t remember it by the time you get home. &t$s cra>y+ And this is in the 6HU06H! Cot some night club or outside gig. This is church. &n fact, & don$t even thin# this happens 7uite the same in secular places. -a>> guys are happy to get together. Salsa guys are ammin$ together all the time. <oc# players are going at it all night in the garage. .ospel players. 6very player for themselves. 78or the most part9. Eo me, that$s bac#!ards.

2ou !ould thin# in an industry !here spirituality plays a #ey role, that it !ould be about more than )lic#s* and )tric#s*... and !ho$s better... and !ho$s getting paid more... and !ho$s not. =ut apparently, it ain$t about furthering the )gospel.* Ehe title )gospel musician* is a promotion for some fol#s. Ehey don$t deserve the title. '1nd if someone should #no! about all this, it$s me. & have over 8::,::: musicians on my mailing list and receive over 5:: e"mails a day. & get a good sample of !hat$s going on all over the !orld ust from reading and listening to 23U.( Co!, to be fair, & guess )their* perspective !ould be this% (, #i# all the /or' to get /here , am so /hy shoul# , 5ust han# it over for free:+ (They better /or' for it li'e , #i# or they arent hungry enough for it4+ (, #i#nt have any one to sho/ me so /hy shoul# , sho/ someone else:+ (,f , give them my s/eet stuff- they are going to run /ith it an# try to ta'e my 5ob...+ (,m the man aroun# here. %int nobo#y gonna outshine me.+

& don$t #no!... &$d imagine, this !ould be !hat many of them !ould say. 1nd if that$s ho! they thin#, then so be it. Aet them be. Ehey may have the music part do!n pat but they are missing some pivotal 'eys to life. Ehis is !hat & mean... 1s a musician, you can either choose to have an "2und"n'e indset+. An "2und"n'e indset s"ys8 indset. or a s'"r'ity

(There is enough ;;;;7fill in the blan'9;;;;; out there for everyone. , /ill give freely an# 'no/ that goo# measure /ill come bac' to me in #ue time.+

Ehat$s ho! & thin#. 1nd even !hen & found myself teaching neighborhood #ids /: years ago, that !as my mindset. 'Funny ho! & tell this story. & !as only a #id myself but .od al!ays put me in a position to teach my peers, !hether it !as through music or through youth bible study or even as the student body president at school.( -7-

1nd it !as this abundance mindset 'not being afraid of teaching someone in my congregation( that led to hearandplay.com """ doing !hat & love+ So $od 2#esses those 1ho 2#ess others! Ehat$s !hy it$s so important to (pay it for/ar#.+ 4hen you learn something revolutionary online, pass it on to someone else. 1nd you$ll be surprised... )passing it on* not only helps the beneficiary but it helps 23U in !ays you !ouldn$t imagine. ,ere$s !hat & mean...

Examine this chart for a moment... &t basically tells you ho! much information you should expect to remember !hen using certain modalities of learning. &f you read something, you$ll remember ust /:O of !hat you read. &f you see and hear it 'audiovisual(, you$ll retain 0:O of the information.

&f you$re demonstrated something, it goes up to a 8:O retention rate. &f you involve yourself in a discussion 'that$s !hy our message board is great(, you$ve ust passed the I:O mar#. P<1CE&CE is 5IO. Ehat$s !hy you can$t ust read... you ust can$t !atch... you ust can$t listen. 2ou gotta P<1CE&CE. 1nd you gotta practice the right !ay because )practice doesn$t ma#e perfect.* 'yeah, & said it+( PE0FE6T P0A6TI6E &A*ES PE0FE6T! So if you practice !rong, you$ll learn the stuff, sure enough... =UE E,E 4<3C. SEUFF 3< E,E 4<3C. 412+ 0e e 2er th"t. 'Slo! stuff do!n and don$t al!ays be in a race to mimic !hat you see or hear at the same tempo... slo! it do!n to )turtle speed* and learn it right... then speed it up(. =ut & said all that to say this% THE HI$HEST ?UALITY OF LEA0NIN$ 6O&ES ,HEN YOU 6AN PUT YOU0SELF IN A POSITION TO TEA6H OTHE0S+ Case in point. &$ve become a much better musician since & started hearandplay.com. 1rticulating a lot of the stuff that$s been in my head for years has helped me to further solidify that stuff. & #no! it sounds li#e a tongue t!ister but it$s spot on. =y putting myself in a position to teach you, it helps ME more than it helps you. So yes, &$ve had a selfish motive ever since & found out about this )learning pyramid.* '1nd &$m sure you guys don$t mind that &$m remembering more about music every time & teach you a ne! techni7ue or concept(. &t$s a !in"!in situation. So !hat$s the messageG Ehe message is% I don=t '"re i! you=re " 2eginner or " %ro, %ut yourse#! in " %osition to %"ss on 1h"t you=re #e"rning "nd you 1i## $0O, ore th"n you 'ou#d e(er i "gine+ Part of this is ust supernatural la/ '&$m sure the )learning pyramid* study doesn$t say this but the bible clearly says you (reap /hat you so/.+9 1nd this all falls under having an "2und"n'e indset+.

Lno!ing that there are enough chords- lic's- tric's- voicings- patterns- runs- and more out there for EPE<23CE+

-9-

...Ehat you don$t have to fear someone ta#ing your ob. &n fact, you have M3<E to fear about the underdog if you maintain a )scarcity mindset.* 'Ehin#% (The last shall be first an# the first shall be last.+( So if those stingy musicians #ne! this, & bet they$d act differently. 4ell, & ta#e that bac#. Some fol#s are ust stubborn. )& learned this all by myself so you gonna learn it all by YOSELF+* .od have mercy on them. =ut the reason !hy one !ould hold on to !hat they #no! is because it seems li#e the natural thing to do. &t almost seems counterintuitive that you can become a better musician by sharing !ith others ... but it$s right. So this is ust one of the things you$re up against as a gospel musician... stingy musicians that don$t !ant to share !ith you. 1nd if that !eren$t enough, you can$t go any!here else to get the proper help. Ehe local colleges and universities aren$t offering courses on ho! to play )praise Q !orship music* or ho! to )bac# up a preacher* or ho! to play for Sis. Murphy during )testimony* service. Ehese aren$t topics taught in the local music program. &$m sorry. 1nd if you do find a local teacher advertising )gospel lessons,* you$ll soon find that most of them are !atered do!n )!annabe* soulful lessons they try to pac#age as gospel music. Perhaps they have good intentions... and they do #no! their music... but it ain$t 1UE,ECE&C .3SPEA MUS&C. & guess & ust better say it... Ehere$s )Christian Music.* Ehere$s even ).ospel Music.* 1nd then there$s Mcough """ coughN% )#"'@ $os%e# &usi'+. Co!, & #no! & have all races of fol#s on my mailing list. 1nd &$m a pretty universal person myself. & get do!n !ith EPE<2=3B2+ =ut & don$t #no! ho! many e"mails & get from non"blac# people !anting to play )blac# gospel.* & don$t title it that !ay or tell them !hat it is. THEY TELL &E 1h"t it is+++ & even had a guy on the phone say% (, cant /ait til , ta'e this to my /hite church4+ 4e both laughed. & mean... it is !hat it is. Up until no!, &$ve never said )blac# gospel* on the !ebsite. Cever ever.

&n fact, it$s #inda !eird saying it here because & don$t li#e to label stuff li#e that. Ehe !orld is #inda messed up because everything is labeled and either you$re this or you$re that... so &$ve al!ays been careful about that. & studied this type of sociology in college. =ut, let$s face it. .ospelLeys 8::, my first ever gospel product !as about han#3clapping- foot3stompingfinger3snapping praise songs. THIS ,AS THE FI0ST TI&E ANYONE HAD EAE0 DONE A P0ODU6T SYSTE&IBIN$ HO, TO PLAY P0AISE SON$S+++ THE 0I$HT ,AY! &$ve seen )praise courses* but they !ere too universal... too !atered do!n. 1 music teacher trying to fit the mold. Cot someone !ho$s been through the trenches... the school of hard #noc#s. 4e !ere one of the first 'if not E,E first( to ta#e real, blac# gospel and attempt to systemati>e it. 4hyG =ecause & reali>ed that if musicians !eren$t sharing !hat they #ne!... if colleges and universities !eren$t covering it... if music teachers !ere trying to do it but had no experience playing in the church... and if those gospel musicians !ho !ere !illing to share didn$t have the #no!ledge to pass it on ade7uately because they taught themselves... THEN SO&EONE HAD TO FILL THIS $AP+ So certainly, there is a problem lingering out there !ith the more experienced cats trying to #eep the 2"rriers o! entry. high for the ones ust starting out 'and it$s not your fault(... =ut the ne1 gener"tion. usi'i"ns 'and & don$t ust mean younger musicians... &$m tal#ing about anyone !ho is learning in this ne! )digital age* !here #no!ledge is abundant and they aren$t scared to share(... these are the ones !ho are ta#ing over slo!ly but surely. 4ho !ill you beG

P"rt Three8 Introdu'ing The CSe'ret For u#"= Th"t ,i## Tr"ns!or Your P#"ying Tod"y!
Ehere$s this secret recipe my mom and cousin both #no! ho! to ma#e. &t$s some type of lemon dessert... but it$s li#e nothing &$ve ever tasted before. &$m yet to find a replica any!here else either, !hich ma#es it that much more special. &t$s my favorite 'but &$m not as young as & used to be and gotta slo! do!n !ith the eating... &$m at 00I lbs no! and up until the last 8 years or so, &$ve lived my life primarily as a tall, s#inny guy !ho could never get above /?I lbs. & guess times change...(. -11-

=ut any!ay, &$m told that my cousin$s late grandma passed this secret recipe do!n to her and only she #ne! it... UCE&A... ...UCE&A my mom had a dream !here she says my cousin$s late grandma revealed the recipe. '& #no!, & #no!... cra>y"sounding stuff to some fol#s. =ut &$m going some!here, stic# !ith me(. Someho! my mom got this recipe and even my cousin #no!s there !as no !ay she could get it. =ut that$s not the point. Ehe point is, they never fail to ma#e this magical dessert taste the same !ay every time """ and &$ve been en oying it for at least 0: years no!, since & !as in elementary school. Every time... it tastes the same. <emar#able. Co!, & don$t #no! the recipe but & do #no! fol#s !hose coo#ing is unpredictable. Sometimes they hit a home run... sometimes they stri#e out 'and have the audacity to invite you over to eat it... and since & don$t !anna hurt anybody$s feelings, & ust eat and smile... eat an# smile.(. =ut not !ith this lemon dessert. Ehey hit the ball out of the par# every time. My guess is that% Either the magic recipe is so easy to follo! a child couldn$t mess it up. 3<... maybe there$s really nothing to it. Maybe it$s ust a mixture of the same simple ingredients everyone else uses... but meshed in a !ay that produces a totally ne! masterpiece.

From !hat my mom hints, perhaps both are true. <ut ho/ can something that tastes so goo# be so easy to ma'e: 4ell, this is exactly ho! & feel about playing by ear, IF YOU *NO, THE 0I$HT 0E6IPE+ &f you don$t #no! the right recipe 'or formula(, you$ll continue to have )hit* or )misses.* Sometimes you$ll sound good, sometimes you !on$t. Some songs you$ll be able to pic# up on your o!n, some songs you !on$t. & !ant to sho! you a formula & call &USI6IAN T0ANSFO0&ATION+. &t$s the one system & believe every musician needs in order to experience transformative gro/th. Cot ust gradual gro!th. .radual improvement is alright but &$m into geometric, exponential improvement. &$m into seeing people go from playing a fe! chords to sounding li#e they$ve played professionally for years 'and !e have many success stories of fol#s that have accomplished this in ? months to a year(. Ehat$s !hat & li#e to see.

And 2y "stering this ONE syste %#"ying to the ne-t #e(e#+ ,ere$s the formula%

, you=## h"(e 1h"t it t"@es to %ro%e# your

Bon$t !orry... &$m gonna brea# it do!n. Each of the abbreviations stand for something% /. 0. 8. F. I. Fund" ent"#s Fluency 6hord"# Command P"ttern Proficiency Song Solidity E"r Efficiency

=o there you have it4 The report is over... than's for rea#ing. "ave a great #ay4

,ahaha+ 1lmost got ya, huhG+G Bon$t !orry, & told you & !as gonna brea# it do!n so ust trust me... 1s & explain each component, &$ll also tal# about !hat happens if you lac# that element. 4hat & mean is that you can have the other four mastered but if you$re missing any one of them, it !ill hold you from true TRAN(F)RMATI)N.

&USI6IAN 9: The one 1ho doesn=t @no1 " thing they "re %#"ying.

Everyone #no!s this musician. .od has blessed them to ust PA12+ Ehis is my grandma. She can play !hat she can play 'a very traditional style of gospel music !here everything sounds the same(. =less her heart+ -13-

She$ll call me to let me #no! she pic#ed up something ne!. &$ll get over there and it !ill be the same chords pac#aged in a different rhythm. & can do nothing but chuc#le and say P#"y th"t th"ng gr"nd "+++ %#"y it!. 'that$s ho! her brothers " my great uncles " tal# !hen !e all get together( . Bon$t$ get me !rong. Ehese !ere many of the earlier musicians of her day. ,ec#, !ho !as around to teach them theoryG ScalesG Chord namesG <elative ma or and minor relationshipsG Ehey learned by hearing everything. 1s for church musicians specifically, &$d say probably 8:"F:O of are still this !ay, &F C3E M3<E... ust li#e my grandma. Ehey$ve learned chords by pressing notes and listening to !here they fit. Ehey may very !ell be playing the same ma or and minor chords you$re playing, but they !ouldn$t be able to tell you that. Ehey are, indeed, playing 0"I"/ progressions 'you can$t help but to... they are in EPE<2 S3C.(, but they !ouldn$t be able to tell you that either. Ehe end result is... Ehey have about a good do>en or t!o )unnamed* chords and patterns they pic#ed up years ago and they F&E EPE<2E,&C. &CE3 E,3SE F1M&A&1<&E&ES. Ever been to a church !here they are singing a very hip, modern song that ust came outG 'Probably a result of a youth choir director trying to push the church into a modern direction(. =ut the musician !as giving the song a totally different vibeG & ME1C 1 E3E1AA2 B&FFE<ECE P&=E... SE2AE... .<33PE... <,2E,M. Ehey made the song fit E,E&< !orld. 1 !orld that$s unfortunately not fluent in the 2"si's D !und" ent"#s+

1 !orld that s#ipped all the foundational stuff and !ent right to playing. '&$m not saying this is bad though because if it !eren$t for fol#s ust getting up and PA12&C. one day, most gospel musicians !ould still be sitting in their church pe!s right no!. So that$s often the start. PLAY IT AND FIGURE IT )UT *ATER. is sort of the motto of these fol#s(. 4ell, & ta#e that bac# because some fol#s +don!t &now w at t ey don!t &now., *et me e-.la"n /y s ow"n0 you a d"a0ram% Ehere are stages !hen it comes to mastering something.

Aevel / R Un'ons'ious In'o %eten'e8 Ehis is basically !hen you #ont 'no/ that you #ont 'no/ something. 2ou literally have no idea that there is something you must learn. &t$s li#e a #id not #no!ing they should tie their shoes or they$ll trip on their shoelaces. Ehey ust don$t #no! any better. 4hen most musicians first enter the scene, this is the same stage that has them una!are of all the fundamentals that could ma#e their musical life a !hole lot better. Aevel 0 " 6ons'ious In'o %eten'e8 Co!, at least you aren$t ignorant to !hat you #ont 'no/. Ehis is the @no1 th"t you don=t @no1. stage. People that come to us or eventually start searching google for help reali>e that there is something out there they don$t #no! and this creates an uncomfortable situation because they see other people !ho are better than them. &t$s that light bulb that goes off and says (hmmm- , guess ,m not as goo# at this as , thought... , better start /or'ing on this.+ Ehat$s !hat conscious incompetence is. &t$s a step in the right direction, IF A6TED UPON+ Aevel 8 " 6ons'ious 6o %eten'e8 1t this stage, you have attained the s#ills and #no! that you$re good. (>ou 'no/ that you 'no/4+ 2ou$re still !or#ing at getting to the next stage. Aevel F " Un'ons'ious 6o %eten'e8 4hen you reach this stage, you=(e "de it. 2ou$re so good at !hat you do, that you don$t even have to thin# about it anymore. &t$s a habit and you perform the tas# !ithout conscious effort and !ith automatic ease. Ehis is the pea# of your confidence and ability.

So if you are lac#ing FUCB1MECE1A FAUECC2 'F.F.(, the missing ingredient in the formula above, then you$ll al!ays struggle !ith these issues% 2ou probably !on$t #no! half of the stuff you$re playing and !hat other roles the same chords can play to ma#e your music sound more creative. 2ou probably !on$t be able to play in all /0 #eys because you$re missing the fundamental building bloc#s that allo! for easy transitioning in and out of various #eys. 2ou probably !on$t get into playing more intricate patterns and movements and you$ll most li#ely stic# !ith the same fe! )primary* chords that al!ays !or# 'but don$t give you that accuracy of soun# you$re loo#ing for... O0 NOT LOO*IN$ FO0. IF YOU A0E AT THE +D)N!T KN)W W1AT T) *))K F)R, STA$E 'unconscious incompetence(. -15-

2ou probably !on$t be able to communicate !ith other musicians because you don$t #no! !hether you$re playing a ma or 5 or a dominant 6 chord... let$s not even tal# about altered chords or other extended voicings. 2ou$ll probably have a hard time pic#ing out the exact chords and patterns to songs and !ill most li#ely ma#e every song fit in the )box* you$re stuc# in.

1nd these are ust a fe! frustrations. Ehere are M1C2 M3<E. Mastering FUNDA&ENTALS FLUEN6Y involves% /. Understanding all the note names and sharps;flats. 0. 1 mastery of simple intervals li#e half steps and !hole steps and ho! they really !or#. 8. Understanding ma or scales and the full use of them 'it$s deeper than 5 simple notes(. F. 1 mastery of the number system, !hich is ESSECE&1A to playing by ear, !ithout sheet music. 'Ehis goes along !ith playing scales(. I. Understanding ho! ma or scales can easily create minor scales and ho! every ma or scale has a relative minor scale. 'Moving in and out of minor #eys is essential in many styles of music(. ?. &ntervals '!hich is )distance*(, ho! to name them, !hy they are important to playing lots of chords and progressions. 1nd all of these things are 7uite easy to master because each one builds on the previous one. Aet me explain... 3nce you #no! the note names and the sharps and flats '!hich are the blac# #eys but )sharps* and )flats* don$t al!ays have to be blac# #eys... they can be !hite #eys but this is an advanced topic(, it$s easy to organi>e these notes into s'"#es... !hich are a series of notes played one after the other. 1nd to go from point S/ on my list to point S8, you gotta understand point S0, !hich is (half steps an# /hole steps.+ A h"#! ste% is !ro @ey to @ey 1ith no @eys in 2et1een+ A 1ho#e ste% "#1"ys s@i%s " @ey 1ith one @ey in 2et1een+ &n other !ords, ust by #no!ing this one simple rule, you can tell me the distance bet!een )C* and )B* 'assuming you #no! the note names(. &t$s a !hole step because there$s one #ey in bet!een '!hich is the blac# #ey, )Bb*(. Ehe distance bet!een )E* and )F* !ould be a half step because there are no #eys in bet!een. Ehe same goes for the distance bet!een any !hite #ey and the blac# #ey right next to it. Ehat distance !ill al!ays be a half step.

3#, so another big fundamental ta#en care of in ust 0 minutes !orth of reading. ,o! about thatG '3f course it gets deeper so #eep reading...( Ehen you ta#e that fundamental and you use it to learn scales% ,HY ,ON=T HE ,EA0 ,HITE ,HEN HOT. Ehis isn$t ust a silly saying & made up after my !ife 7uestioned me for !earing dar# clothes in the California summer heat 'true story(. Ehis is a formula &$ve taught tons of people. -ust ta#e the first letter of every !ord and it !ill tell you ho! to form a ma or scale. ,,H,,,H , stands for !hole step. H stands for half step. 1s easy as that. Eo play any scale, you simply start on any note you !ant 'li#e )C* or )F* ... !hatever you !ant( and start applying this easy formula. '&f you don$t #no! the notes of the piano, visit !!!.hearandplay.com;pianonotes(

&f & !anted to learn the 6 ">or scale, & !ould simply start on 6. Ehen & !ould as# myself, )Bo & need to move up a !hole step or a half stepG* Ehen my self !ould ans!er, )Self, the formula says w ole ste. since the first !ord of the silly saying is C1hy+=. So &$d move up to B, the second note in my scale. Ehen &$d apply the next interval of the formula, !hich also calls for another !hole step. Ehat$s E. -17-

1nd & ust #eep going until & get bac# to )C,* my starting point. Ehe end result is% 6 D E F $ A ) 6 5The 6 &">or S'"#e7 1nd get this """ to master the )NU&)E0 SYSTE&. '!hich !as my next point on the list(, you ust simply CUM=E< E,E SC1AE+ Ehat$s it+ =oooyah+ Ehat means% 2ou ust ta#e out a pencil and put a )/* under 6... a )0* under D... a )8* under E... a )F* under F... a )I* under $... a )?* under A... and a )5* under ). 1nd as easy as that !as """ no! you can finally tell people the #eynotes of a )0"I"/* chord progression in any #ey because% /. 2ou$ve learned the ma or scale of that #ey using a simple and silly formula ')4hy !on$t hear !ear !hite !hen hot*( 0. 1nd you$ve simply numbered each note of that scale from / to 5. So if someone as#s, )!hat$s a 0"I"/ progression in the #ey of B,* assuming you$ve learned your B ma or scale, !hich ta#es all of 8 minutes using my easy formula... and assuming you too# the extra 0 minutes to number the scale 'so no! !e$re at a !hopping I minutes total( """ you should be able to immediately ans!er oh, th"t=s "n E EEEE 'hord going to "n A EEEEE 'hord "nd then to " D EEEEEE 'hord!. 'Ehere are blan#s because understanding )!hich* chords to use comes later in the formula( 1nd you #no! the part about ma or scales creating minor scalesG 'SI on my list aboveG(... !hat if & told you that you can play any minor scale by simply playing 1C2 ma or scale starting and ending on the ?th toneG Ehat$s it. Boesn$t that sound easyG So if you #no! your numbers, you$ll be good at determining the ?th tone of any scale very 7uic#ly. Ehen, you simply play that S1ME ma or scale 'do C3E change a thing about the scale... play the same notes( st"rting "nd ending on th"t Fth tone+

See ho! !e did thatG Ehe picture above sho!s a 6 ">or s'"#e repeated t!o octaves '!hich means it repeats itself again !ith higher sounding notes(. & repeated the scale so that & can sho! you this simple strategy to learn the )relative* minor scale that goes along !ith C ma or. 2ou see, every ma or scale has a minor scale that$s related to it. 2ou can call it a )sister* or )brother* scale or a )cousin*... it don$t matter. Ehey are related. Ehey share the SA&E NOTES+ Ehey share the SA&E NU&)E0 OF SHA0PS D FLATS+ Ehey share the SA&E *EY SI$NATU0E+ Ehey share the SA&E 6HO0DS+ For C ma or, that )relative* minor is A. ,o! did !e get )1G* Easy. &t$s the ?th tone. F is your "gi' nu 2er !hen it comes to minor #eys. -ust remember )?.*

'& #no! some of ya$ll are scared of ?. &t$s ust one ?. &t ain$t 8 of them so don$t !orry+++ (. So ust play 6 D E F $ A ) 6 but from )1* to )1* """ thus, giving you% A)6DEF$A

So no!, you$ve added another fundamental... and it too# all of 8 minutes+ 0E&E&)E08 IF YOU *NO, YOU0 &AGO0, YOU *NO, YOU0 &INO0+. So & !anted to demonstrate all these secret shortcuts to prove to you that there is no excuse to be missing the F+F+. part of the formula ')fundamentals fluency*(. &t$s one thing to be at the stage of unconscious incompetence !here you don$t #no! !hat you don$t #no!. -19-

=ut ust by reading this report, you$ve passed that stage. YOU N)W *NO, ,HAT YOU NEED TO DO+ Ehe 7uestion is% ()ill you put in the effort to master these fun#amentals:+

&USI6IAN 9< The one 1ho @no1s the !und" ent"#s 2ut sti## stu'@ 1ith the s" e 2"si' Cte-t2oo@= 'hords.

Ehis musician #no!s their scales. May even #no!s the number system. ,as a good grip on minor scales and the relationships. May even understands intervals. 1ll that stuff is good. )ut they #"'@ 6HO0DS+ Ehey tend to play all their songs !ith the same #inda chords. Ehey put everything into this same typical 'and predictable( structure. Perhaps they even sound good. =ut everything sounds the same and !hile they are goo# (at their level-+ they can$t dare step to an advanced player !ho has truly harnessed the po!er of all the various chords and voicings available. These (basic types+ """ don$t get me !rong """ they #no! !hat they are doing. =ut they haven$t gotten a solid grasp over all the chords and voicings out there 'and believe me, there are a lot(. 1nd !hen it comes to music, # ords rule. Chord progressions and patterns '!hich are covered in the next piece of the formula( are li#e the )flo! of blood* but chords be #a )LOOD!. 'excuse the slang but &$m trying to ma#e a point and it$s my report (. Ehere$s no flo! !ithout the bloo#. &f you lose too much blood, it$s over. 7?mmm- , really hope my analogy ma'es sense. ,ts late an# ,m really trying my best9.

So 'hords "re re"##y th"t i

%ort"nt+

2ou can spit all the theory you !ant... but if you haven$t built up your chordal vocabulary, you$ll hit a g#"ss 'ei#ing that$ll be hard to shatter. 2ou$ll ust be the smart person !ho can$t play. Ehat$s !hy the second piece of the formula is 6HO0DAL 6O&&AND+. 1nd !hen you$re missing this element, your playing !ill sound basic, boring, and li#e it$s lac#ing something. 1nd even if you$re playing the right chords but not the precise voicing, !hile you can get a!ay !ith playing the same )canned* chords for everything, people !ill still #no! that it doesn$t sound 7uite li#e it should. A##ura#y and .re#"s"on are &ey at t "s sta0e. 2ou ever been some!here and heard someone play a song that ust !asn$t 7uite rightG & mean, you #ne! !hat they !ere trying to play. &t sounded good enough. =ut it ust !asn$t 7uite thereG Ehat$s a classic case of a lac# of 6HO0DAL 6O&&AND+ "ere are all the chor#s youll use most of the time@
Ma or triads Minor triads Biminished triads 1ugmented triads Minor 6th Bominant //th Minor 5th 'bI( SusF Secundals Ma or 5th Minor 5th Bominant 5th Biminished 5th Bominant 6th Ma or /8th Bominant 5th 'S6SI( Bominant 5th susF Tuartals 1ugmented Ma or 5th 1ugmented 5th Biminished 5th ,alf"Biminished 5th Ma or //th Minor /8th Bominant 5th 'b6SI( Ma or add6 Tuintals Minor"Ma or 5th Ma or ?th Minor ?th Ma or 6th Minor //th Bominant /8th Sus0 =lash chor#s Eritones ; Bitones

1nd there$s tons more !here these came from '!hen you include more altered chords, the list is endless(. =UE E,ESE 1<E E,E 1=S3AUEE ESSECE&1AS. ...1CB !hen you include all the many in(ersions '!hich is ust a fancy !ay of saying )another /ay to rearrange chor#s+(, then it gets really interesting. Mastering 6HO0DAL 6O&&AND involves% /( Understanding chord 7ualities and the difference bet!een (Auality+ vs (Auantity+ in music. 0( ,o! EE<E&1C chords !or# 'most chords fall under this type(. 8( Ehe different types of chord classes and ho! to easily master all of them. F( Primary chords vs secondary chords and the roles both play in real songs. 'P&E1A+( -21-

I( Understanding ho! altered chords are formed and !here they$re most utili>ed. ?( ,o! extended chords 'ninths, elevenths, thirteenths( !or# and !hen to ta#e advantage of them. 5( Ehe art of chord inversions, !hy they differ from voicings, and ho! to use both. @( ,o! to use easy formulas and shortcuts to remember every chord so that you don$t have to rely on your memory. 'PE<2 &MP3<E1CE(. Ehat last point is !hat & !ant to touch on before & move on to the next element of the &USI6IAN T0ANSFO0&ATION formula. & #no! that list of 8?U chord types can be intimidating. ,t shoul# be. =ut !hat if & told you that you can play all of those chords by simply #no!ing ust F3U< main chords% ma5or- minor- augmente#- and #iminishe#. Ehat$s it. See, that$s the type of insider shortcuts &$m tal#ing about. Music is tough. 2es+ People go to college for years to study it. )ut there "re SHO0T6UTS+ Erust me. -ust li#e !e learned ho! to play minor scales by using !hat !e already #ne! 'i.e. R )ma or scales*(, this concept is similar. 2ou use a concept called POLY6HO0DS. !hich combines multiple smaller chords together to form all the )big* and )bad* chords you see on my list. Po#y V more than one. )more than one* U chords V $*L> B chor#s V THE SE60ET+ Aet me prove it to you. ,ere are the four basic chords in the #ey of C ma or% 6 ">or 7! B C B 19

6 inor 7! B bC B 19

6 di inished 7! B bC B b19

6 "ug ented 7! B C B D19

Cote% Cumbers are important. )2* means to flat the tone by a half step. )9* means to raise the tone by a half step. 2H. simply means (the Cr# tone lo/ere# a half step.+ Co!, !ith these F simple chords that ta#e about 0 minutes to remember, you can combine them together to play all types of bigger chords. ,ANT TO PLAY A &AGO0 I. 6HO0DJ /( ?ui'@ re'i%e8 ,it any root note 'li#e )C*(. Ehat !ill be the #eynote 'title( of your chord. Co! go to the third tone of its scale. Simply play a minor chord on that tone. =am+ Ehere$s a C ma5or E chor#. C U E minor chord V 6 &f you% :7 @no1 your s'"#es, <7 @no1 your nu 2ers, H7 @no1 the K si %#e 'hords !ro ...that$s all it ta#es+ -23">or I

"2o(e 5in "## :< @eys7+++

,ANT TO PLAY A DO&INANT I. 6HO0DJ Similar tric#. 2ou$ll still be !or#ing off the 8rd tone of the scale but instead of playing a minor chord, play a diminished chord. C U E Biminished V 6 Do in"nt I 'or )C5* for short(

,ANT TO PLAY A 6 &INO0 L. 6HO0DJ Co need to learn any ne! chords. Aet$s combine t!o smaller chords. ?UI6* 0E6IPE% ,it any root note 'li#e )C*(. Ehat !ill be the #eynote 'title( of your chord. Combine a minor chord on the /st tone of the scale !ith a minor chord on the Ith tone of the scale. =am+ Ehere$s your minor 6 and all you needed to #no! !as basic minor chords. Example% &f & !ant to find out ho! to play a nice )C minor 6* chord, all & gotta do is combine a regular C minor chord !ith a . minor chord and &$m done. Ehat$s it. & should clarify... 2ou$re stac#ing the ). minor* chord on top of the )C minor* chord... Ai#e this% 6 inor 4 $ inor M 6 inor L

The good ne1s+++ 6:O of chords can be created and remembered using simple little tric#s li#e this. 4hy memori>e and stress yourself out about remembering F: and I: chords in all /0 #eys '!hich is li#e ?:: chords(, !hen you can ust remember the shortcuts. '1ctually li#e over I::: chords once you start inverting and changing the !ay you voice them(. +I!ll ta&e t e s ort#uts 2or 3455 Ale-6, '-eopardy o#e... um, nevermind(. So here$s the same list of chord types & posted above, but this time !ith "'tu"# notes in the @ey o! 6+ 2our ob is to find all the little )basic* chords 7ma5or- minor- #iminishe#- F augmente# tria#s9 inside of these bigger chords. ,A0NIN$8 You=## h"(e Key o2 '
&">or tri"ds CE. &inor tri"ds C Eb . Di inished tri"ds C Eb .b Aug ented tri"ds C E .S &inor Lth C Eb . =b B Do in"nt ::th C Eb . =b B F &inor Ith 52/7 C Eb .b =b SusK CF. Se'und"#s CBE &">or Ith CE.= &inor Ith C Eb . =b Do in"nt Ith C E . =b Di inished Ith C Eb .b =bb 'or 1( Do in"nt Lth C E . =b B &">or :Hth CE.=BF1 Do in"nt Ith 59L9/7 C E .S =b BS Do in"nt Ith susK C F . =b ?u"rt"#s C F =b Aug ented &">or Ith C E .S = Aug ented Ith C E .S =b &">or 5"dd L7 CE.B H"#!;Di inished Ith C Eb .b =b &">or ::th CE.=BF &inor :Hth C Eb . =b B F 1 Do in"nt Ith 52L9/7 C E .S =b Bb Tritones N Ditones E =b 'used !; )C* bass( ?uint"#s C.B &inor;&">or Ith C Eb . = &">or Fth CE.1 &inor Fth C Eb . 1 &">or Lth CE.=B &inor ::th C Eb . =b B F Do in"nt :Hth C E . =b B F 1 Sus< CB. (las # ords 7<b . 89 over (C+ bass

"ny re(e#"tions so do it!

-25-

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

Here "re so

e s"

%#e o2ser("tions to get you going+++

/( Cotice a 6 do in"nt Lth. chord combines a C ma or and a . minor chord. Cumerically, that$s the /st and Ith chords, stac#ed. 0( Cotice a 6 inor ::th. chord combines a C minor chord and a =b ma or chord. Cumerically, that$s the /st and b5th chords, stac#ed. 7thats flatte# Eth for those that #ont 'no/ 333 5ust ta'e the Eth tone an# lo/er it a half step to get the flatte# Eth9. 3ne more... 8( Cotice the 6 "ug ented ">or Ith. is a simple )E ma or* chord over )C* bass. Cumerically, this is basically a ma or chord off the 8rd tone of the scale. So !hat$s the pointG Ehe point is% These short'uts "nd !or u#"s "re e(ery1here+ 2ou$ll even find more than one, especially for the huge extended chords 'e.g. R )//ths and /8ths*( &f you master this simple )SE1CL&C.* techni7ue, you can employ hundreds of chords on the spot !ithout having to really file anything in your memory but the formulas themselves. ,o! about thatG

&ncorporate all these different types of chords in your playing and you$ll never sound dull, boring, or li#e you$re missing something again... & guarantee it+

&USI6IAN 9H The one 1ho '"n=t %#"y in "## :< @eys "nd "%%ro"'hes e"'h song they #e"rn !ro s'r"t'h, !"i#ing to re"#iOe th"t &OST songs !o##o1 the s" e 2am"l"ar %"tterns+++.

Ehis is probably the musician !ith the $0EATEST %otenti"# because they #no! their basics and fundamentals... they even #no! all their various types of chords... they got all that covered. =ut they lac# in the area of 'onne'ting e(erything together+

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

Ehey still haven$t figured out that most songs follo! the s"

e e-"'t %"tterns+

Ehey are mista#enly learning songs note by note and chord by chord rather than +.attern, by %"ttern+. 2ou see, !hen & hear a song for the first time, ,m hearing patterns. P0EDI6TA)LE, SYSTE&ATI6 patterns that occur over and over again in song after song. Chances are your ear is already familiar !ith most patterns out there. For example, have you ever heard a song for the first time and could actually tell !here the melody or chords !ere going nextG Cot from a musical standpoint. &t doesn$t even ta#e #no!ledge of music to do this. Even a non"musician hears and predicts !here the singer is going to go. 4e$ve heard so many songs over the years that !e subconsciously #no! ho! they are supposed to sound. <eally+ &t$s li#e you hear certain chords... that then set things up to go to other chords. 1nd li#e cloc#!or#, it happens again... and again... and again. 3ne example is ho! most songs end. Most songs end on a famous pattern !e call a <;/;:+. 1ll that means is a chord off the 0nd tone of the scale going to a chord off the Ith tone of the scale and finally ending on a chord on the /st tone of the scale. &n the #ey of C, this !ould be some type of chord on )B* moving to some type of chord on ).* to some type of chord on )C.* Simple. 1nd if you #no! the number system 'as suggested in the Fund" section(, this is a piece of ca#e. &n fact, this is !hen the NU&)E0 SYSTE& really comes to play. Ehe reason people can$t play in all /0 #eys is because they probably aren$t vie!ing !hat they play as P1EEE<CS. &f & told you to play the follo!ing chords in all /0 #eys immediately '!ithout prior practice or preparation(, !ould you be able to do itG *ey o! 6 ">or. ent"#s F#uen'y.

C ma5or G % minor G . minor G H ma5or G 6 minor G % minor G .E G HE G C ma5or -27-

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

&f you !ere proficient in pattern recognition, you !ould be able to. Ehat$s !hat P+P+,. the next element of the formula, is% P"ttern Pro!i'ien'y+ ,ere$s ho! & !ould approach playing this progression in all /0 #eys &MMEB&1EEA2, !ithout ::hesitation. Ste% :8 & !ould already #no! all of my chords using the techni7ues from the last section, C.C. 7+' ordal 'ommand,8. 1t the minimum, & should #no! all my ma or, minor, diminished, and augmented chords... and have tac#led some of the formulas to play other chords on that list. '&f you really ta#e this serious, then the goal is to master 1AA of those chords in all /0 #eys.( Ste% <8 &n my head, & then proceed to convert the string of chords above into NU&)E0S+ So, to me, it$s no longer ust% C ma5or G % minor G . minor G H ma5or G 6 minor G % minor G .E G HE G C ma5or Since &$m in the #ey of C ma or, & use the C scale to help me number these chords. So instead of thin#ing in terms of AEEEE<S, &$ve transformed my thin#ing by relating everything to the UC&PE<1A MUS&C A1C.U1.E """" NU&)E0S!
: ">or P F inor P < inor P / ">or P H inor P F inor P < do in"nt I P / do in"nt I P : ">or

Ste% H8 1ssuming, & #no! all my ma or scales and have made it a point to master the )numbers* of every scale, then this !ill be easy. MS&BE C3EE% &f you$re s#ipping stuff and not follo!ing my advice, then you deserve to be confused right no! 'MESS1.E+++(N I '"n e"si#y o(e this to "ny @ey 2y re%#"'ing the nu !ro "ny gi(en ">or s'"#e+ *ey o! D
D ">or P ) inor P E inor P A ">or P F9 inor P )

2ers 1ith the "'tu"# notes

">or
inor P E do in"nt I P A do in"nt I P D ">or

*ey o! $
$ ">or P E inor P A inor P D ">or P ) inor P E

">or
inor P A do in"nt I P D do in"nt I P $ ">or

1nd you pretty much do this process !ith all the #eys.

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

So you might be as#ing... (*'- if ,m learning something on my o/n- ho/ #o , 'no/ /hether its a ma5or- minor- #ominant or some other type of chor#:+ .reat 7uestion. For starters, you can listen and hear clearly if the chord is happy3soun#ing 'ma or(, more serious 'minor(, bluesy 'dominant(, 'in#a spoo'y 'diminished(, sort of open an# ma5estic 'augmented(, etc. The e"r is "#1"ys the !in"# >udge+ <emember that. =ut & have good ne!s... Ehere is a system that tells you !hat chords are M3SE A&LEA2 to occur on each tone of the scale. Ehese chords don$t al!ays appear /::O of the time... but they do ma ority of the time. ,ere they are% :st tone o! the s'"#e8 4ill usually carry a ma or chord 'can be a 8"fingered ma or triad or a big ma or 6th... but the point is that most li#ely it$ll be ma5or(. <nd tone o! the s'"#e8 4ill usually feature a minor chord '... again, this can be a 8"fingered minor triad or a huge minor 6, //, or /8... but it !ill usually be some type of minor Auality(. Hrd tone o! the s'"#e8 -ust li#e the 0nd tone of the scale... minor. Kth tone o! the s'"#e8 -ust li#e the /st tone... ma or. /th tone o! the s'"#e8 1lmost li#e the /st and Fth tones since it can be ma or. =ut it$ll most li#ely be dominant and bluesy"sounding. Ehe )I* chord is usually going to help you in ending your songs. &t has that strong push bac# home to the )/* chord. Cotice in the famous )0"/"/* progression, the )I* is progressing to the )/.* Ehis is one of the most common progressions in music. Fth tone o! the s'"#e8 -ust li#e the 0nd and 8rd tones... minor. Ith tone o! the s'"#e8 Unli#e the other scale tones, this one is going to be either diminished 'if you$re playing 8"fingered chords( or a half"diminished 5th chord. 1nd for my fol#s that li#e to #no! !here these came from, do this exercise in C ma or% :7 St"rt on the !irst tone o! the s'"#e 5 6 7 "nd %ress e(ery other note o! the s'"#e unti# you h"(e H notes %ressed+

6BEF$1=CBEF.1=C
2ou get a ma or chord 'C U E U .(. -29-

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

<7 Do the s"

e thing on the <nd tone o! the s'"#e 5D78

CDEF.A=CBEF.1=C 2ou get a minor chord 'B U F U 1(. H7 Do the s" e on the Hrd tone o! the s'"#e 5E78

CBEF$1)CBEF.1=C 2ou get another minor chord 'E U . U =(. 2ou see ho! that !or#sG 2ou ust do this all the !ay up the scale and you$ll end up !ith these chords% /st tone &">or 'hord 0nd tone &inor 'hord 8rd tone &inor 'hord Fth tone &">or 'hord 1nd that$s ust 8 fingers. Ery doing every other note !ith F fingers. 'Ehat$s !here the dominant 5th chord on the Ith tone comes from(. =ut here$s the real secret... 1re you ready for itG Ith tone &">or 'hord 'or
dominant, !hen bigger(

?th tone &inor 5th tone Di inished 'or half

diminished, !hen bigger(

&t$s called the 6I06LE OF FIFTHS. and if you use it, you$ll notice most of the songs you play follo! it. Aet me explain...

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

Ehis chart is probably one of the most important things you$ll ever learn !hen it comes to playing and recogni>ing patterns. Ehis chart basically organi>es #eys in Kths "nd /ths+ For example, you$ll see C at the very top. &f you loo# to the right, you$ll see ., !hich is a Ith up from C. '2ou can also simply loo# at this as . being the Ith tone;degree of C ma or(. 1nd it #eeps going... D "s t e 5t o2 G ma9or... A "s t e 5t o2 D... and so forth. Ehe <E1A magic happens, ho!ever, !hen you go the 3E,E< B&<ECE&3C. Ehat is, from C to F to =b to Eb and so on 'li#e & illustrated above !ith the arro!(. THIS IS THE 0EAL FLO, OF &USI6+ 1nd & guarantee you, if you compare some of the songs you #no!, you$ll find a lot of movement in accordance !ith this 'ir'#e o! !i!ths chart. 1nd if you$re ust starting out, you$ll see !hat & mean soon. <emember the classic )0"I"/G*

,e##+++ 'ir'#e "ny three notes th"t "re neigh2ors on this 'ir'#e "nd there=s your <;/;:!
.o ahead+ Ery it+ Circle the #eys C, F, and =b 'remember... !e$re going C3UCEE<"CA3CL4&SE... the opposite direction of ho! a cloc# !ould tic#(. C, F, and =b ma#e up the #eynotes of a )0"I"/* in the #ey of =b ma or. Circle another 8 notes... ho! about E2, A2, D2+ Ehose three notes ma#e up a )0"I"/* chord pattern in the #ey of Bb ma or. & mean, isn$t E2. the 0nd tone of the Bb ma or scaleG &sn$t A2. the Ith toneG &sn$t D2. the /st toneG Ehe circle of fifths simply does the !or# 8*& >*?. 1nd this ties right into the previous page !here !e studied !hat chords !or# on each tone of the scale because once you figure out the #eynotes for your )0"I"/,* ust apply the right chords. For example, !hen & circled Eb, 1b, and Bb, that gave me a )0"I"/* in the #ey of Bb ma or. E2 WWWWWWWWWW chord KKK A2 WWWWWWWWWWW chord KKK D2 WWWWWWWWWWWWW chord Using the information you ust learned, as# yourself% -31-

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

4hat chord is most li#ely to occur on the 0nd tone of the scaleG 1ccording to !hat !e ust learned, a inor. chord. 1s# the same 7uestion for the Ith tone. 1ns!er V ">or or do in"nt I 'hord+

1nd as# the same 7uestion for the /st tone of the scale '!hich is really easy because those are usually 1A412S ma5or chor#s(. E2 inor or E2 inorI PPP A2 ">or or A2 I PPP D2 ">or or D2 ">or I

1nd the cool part is... if these chords don$t !or#, you can al!ays change them around until you find the right chords that do. For example, if the Eb minor chord doesn$t$ sound right, & !ould probably try an Eb dominant 5 chord next as this !ould produce a more )bluesy* sound and sometimes you$ll find that occurring on the 0nd tone of the scale. At the end o! the d"y, your e"r is the !in"# >udge+ ,ere$s one final tip for this section... 4hen attempting to learn a song, follo! the lo!est =1SS C3EE. Ehe bass player !ill al!ays be playing the pattern for the most part. 1nd most li#ely that pattern !ill be something stri#ingly similar to the circle of fifths. For example, here$s a basic bass line for the classic !orship song, Th"n@ You Lord* in the #ey of C ma or. Th"n@ You Lord+ 6 E A Th"n@ You Lord+ D D $ Th"n@ You Lord+ 6 E A I Gust ,"nt To Th"n@ You Lord D $ 6 Co! ust compare ho! close these notes are on the circle of fifth. Aoo# at the direction they are moving on the circle. Ehis is ho! most songs !or#. So no! you can use !hat you #no! about Fth and Ith intervals to your advantage. 4hen you do this, you !on$t find yourself pic#ing out every chord, one after the other, re!inding your tape over and over.

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

'& mean, even advance musicians re!ind cds over and over to figure out the EX1CE voicings of the chords being used on the album """ ho!ever, they do not do this !hen it comes to #no!ing the M1&C P1EEE<C at !or#. 3ver time, the patterns !ill stic# out in your mind and you$ll ust #no! them because you$ve compared so many songs to the circle of fifths in the past. 2ou$ll start to predict !hat comes next 'li#e in the above example, !henever you see )E,* the 8rd tone of the scale, you$ll start to expect )1* to be next, !hich is the ?th tone of the scale... and probably )B* after that, !hich is the 0nd tone of the scale.( 1lso notice that E K 1 K B are neighbors on the circle of fifths chart. <eally cool stuff+ Ehis ho! music !or#s+ 4hen you understand this stuff, you can play ust about anything+ &$m serious.

1nd !hen you master patterns, the circle of fifths, and understand the chords that naturally fall on every tone of the scale, you$re that much closer to being a T0ANSFO0&ED &USI6IAN+

&USI6IAN 9K The one 1ho h"s " h"rd ti e %#"ying e-"'t#y 1h"t they he"r on "n "#2u 1ithin inutes+++.

Ehis musician is having a hard time applying !hat they #no! to learning songs 7uic#ly. 2es, they #no! their scales. Ehey #no! their chords. Ehey even #no! all the common patterns. =ut still, for !hatever reason, they cannot learn songs on their o!n and if they do, it ta#es B12S. Ehey are struggling in the SON$ SOLIDITY. 5S+S+7 department. 1nd &$ll tell ya right no!... @:O of songs & can almost learn in less than 5 m"nutes. Ehe problem is not hearing !hat$s going on in the song. 3nce you$ve gotten to a certain level, this !ill come easy. -33-

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

&f anything, the problem is ust #eeping up !ith !here each part goes and ho! many times to repeat this or that """ and after practicing enough, you$ll remember little nuances of the songs over time. =ut the goal is to see the )I$ PI6TU0E+ Eo see ho! the patterns connect over and over again to create real songs. ,ere$s a little saying & use a lot% Cotes create scales. Scales create chords. Chords create progressions 'or patterns(. Progressions create songs. So no! comes the part !here you focus in on% Deter ining the e#ody o! the song 3ften times, the melody can provide a roadmap for !hat chords to play. Ehe melody !ill never clash !ith the chord. &n fact, usually the melody of the song is #ept up top. '&n some circumstances, it doesn$t matter... but most of the time, the melody is preserved as the highest note of the chord(. So ust by #no!ing the HI$HEST NOTE, this !ill rule out many chords. For example, if &$m in the #ey of C ma or and & figure out the melody of a song starts on )E* '!hich is the 8rd tone of the scale(, there$s only so many chords that immediately come to mind% o =ecause & #no! a )C ma or* chord is most li#ely to start this song 'because most songs start on the /st degree of the scale(, &$m automatically going to assume that this melody note )E* is simply the )E* from my standard )C ma or* chord. &n other !ords, if the C ma or chord is 6 4 E 4 $,. &$m ust going to invert 'rearrange( this chord so that )E* is on top """ $ 4 6 4 E.+ &f it !or#s, &$m good to go. o &f it doesn$t !or#, &$ll say to myself% )4hat other commonly occurring chords in this #ey have )E* in themG E minor 'E 4 $ 4 )8 the chord !hich naturally occurs on the 8rd tone of the scale any!ay... see 6HO0DAL 6O&&AND section(. & can rearrange this chord to put )E* on top '.U=UE(. F ma or 5 'F 4 A 4 6 4 E% Ehis chord already has )E* on top so if my other chords don$t !or#, & can certainly try this one. B minor 6 'D 4 F 4 A 4 6 4 E% &f you paid attention to the C,3<B1A C3MM1CB section, you$ll remember that all bigger chords are

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

composed of smaller chords. So if a ma or chord usually !or#s, there is a corresponding minor chord that !ill probably !or# too because they pretty much share the same notes except for the bass. &n this case, this B minor 6 chord is basically the previous F ma or 5 chord !ith )B* in the bass. =ut you get the point. Ehe melody #an .ro$"de #lues 2or t e # ords 7 armony8. Deter ining 2"ss o! the song

4ith the last techni7ue, you !ere loo#ing at the highest note and dra!ing potential options from it. 4ith this techni7ue, you$re clueing in on the bass instead. 4ell, & shouldn$t say )instead.* Ehese techni7ues go together. ,ere$s ho! & do it... &f &$ve already heard the pattern before and have played it a million times, my brain immediately says NOTHIN$ NE, HE0E+. 1t that point, &$ll !igure out the @ey and proceed to play the pattern. =elieve it or not, this happens a lot. 2ou !ould thin# ust because a song is ne! that perhaps the song!riter or composer came up !ith something creative. &E &S <1<EA2 E,E C1SE. 1nd some genres are !orse than other. .ospel, <Q=, and pop music do this a lot. & mean, all genres do but & find <Q= singers all sing pretty much the same patterns. &$m al!ays surprised !hy listeners don$t get tired of hearing different lyrics over the same chord patterns... over and over. =ut & guess that$s great for the industry+ Easy money. So, most of the time, the patterns are ones &$ve heard and played before. &n those cases, & don$t even have to figure out the bass. Something clic#s in my mind and & already #no! !hat$s going on. ,A0NIN$8 2ou !on$t start out this !ay. Ehe next element 'E.E. R )Ear Efficiency*( !ill help out. =ut really, it$s ust a matter of ta#ing the time to stop and listen. 4hen you B3 learn something, stop and listen to ho! it really sounds. Ehin# in your head about other songs that sound li#e this. Ery to sing other melodies over the same chords and see if it !or#s. -ust ta#e the time to thin# about the chords as C3AAECE&3CS and not as separate chords. For example, since &$ve been tal#ing about 0"I"/ progressions and ho! they commonly end songs, it !ould do you !ell to ta#e the same 0"I"/ progression 'li#e a )B minor 5* going to -35-

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

a ).5* to a )C ma or 5*( and simply sing as many song endings !hile playing these same chords. Examples% ("er fleece /as /hite as sno/* Mplay 0"I"/ in rhythm !ith thisN ("appy <irth#ay to you 7en#ing9+ Mplay same 0"I"/ in rhythmN (Next time /ont you sing /ith me+ Mplay same 0"I"/N ()as blin#- but no/ , see+ Mplay same 0"I"/N (Than silver an# gol#+ ')Silver and .old,* Lir# Fran#lin(* Mplay same 0"I"/N (.o not pass me by+ 'Pass Me Cot 3 .entle Savior( Mplay same 0"I"/N (%ll through the to/n* 'Ehe !heels on the bus( Mplay same 0"I"/N 2ou get the point. So !hen & hear the same types of endings over and over, it$s not that my ear is better than yours... it$s ust that &$m no! conscious of the fact that these are the same chord patterns at !or# regardless of the style of the song... regardless of the genre... regardless of the rhythm or tempo. 1nd that$s !here you !ant to get. =ut if you can$t hear the patterns in your head yet, you can al!ays try to pic# out each bass note, one by one. Ehis !ill !or#. Ehen, once you have a collection of bass notes pic#ed up, you$ll probably see a pattern at !or#. Maybe it$s a circular pattern 'i.e. R )notes moving in the circle of fourths;fifths direction*(, as discussed in the last section. Maybe the bass pattern is moving up the ma or scale, one degree at a time. -ust the notes themselves !ill hint at !hat #ey you$re in. For example, if you pic# out these notes% F P A P D P 6 P F P )2 'Leep in mind these are separate bass notes you$ve pic#ed out from listening to a record(. 1lready, in my mind, &$m leaning to!ards this song being in F ma or ust because it is the first chord used. =ut it could also be in )2 'after all, the last note is =b and all the notes are in the =b ma or scale, too(. Ehis isn$t al!ays the case though so you can$t al!ays rely on this tip.

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

=ut, you can as# yourself these 7uestions to confirm your ans!er% /( 1re the notes & pic#ed out from the F ma or scaleG 0( 1re there any notes that aren$t in the F ma or scaleG 1nd if they aren$t, are they important )rest points* in the song. &f they are ust )passed* over really fast, then this pattern can still be in F ma or. Songs must have %"ssing tones, !hich help to move us from one chord to another. 1nd these passing tones aren$t al!ays from the S1ME ma or #ey. 3ften times, these passing tones are half steps above or belo! the next bass note, !hich is usually &C E,E SC1AE. So if &$m in the #ey of F and notice the bass pattern8 F P A P E/ P D... !ell the )F,* )1,* and )B* are surely tones of the F ma or scale... but !here did the Eb come fromG &t$s not in the scale. 1CS4E<% &t$s a passing chord to ma#e our pattern more interesting. Since Eb is so close to B, it provides a nice push to B. Eherefore, Eb shouldn$t be seen as an important chord tone... especially if it is only used for a split second... the main chord tones are still from the #ey of F and that$s !hat matters. & thin# a lot of people get confused !hen they are pic#ing out bass notes because they find notes from all over the place 'and that$s perfectly fine(. &f songs only used the 5 notes from the same scale, E,&C.S 43UAB =E =3<&C.. 2ou have to borro! from other #eys and add passing and neighboring tones and chords to spice things up. 1s musicians, though, !e don$t get confused. For example, !e still see this as a )0"I"/* in the #ey of C% D inor I K $I K .b ma5or E K 6 ">or I

3f course, B is the 0nd tone of the scale, . is the Ith tone of the scale and C is the /st tone of the scale 'thus )0"I"/* pattern( but !here does the Bb in bet!een come fromG &t$s not in the C ma or scale+ 2ou$re right. =ut it$s used as a passing chord to bring us one half step do!n to C ma or 5. So instead of going from .5 directly home to C ma or 5, !e stop at the gas station on the !ay to get some more )FUEA.* Ehat Bb ma or 5 chord ust provides creative fuel, even though !e could have surely gotten home on the tan# of gas !e had. So !hen you$re pic#ing out bass notes and relating them to patterns, you$re loo#ing at the =&. P&CEU<E... not necessarily every little note that pops up. THE )I$ PI6TU0E IS THE &AIN PATTE0N AT ,O0*+

-37-

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

8( Bon$t !anna confuse you but let$s go bac# to our example in F ma or for this last 7uestion &$d as# myself. &$d as#% )&f & press do!n any F on my piano !hile listening to this song, does it fitG Boes it sound li#e it !ould be the #eyG* Ehis is a hard one to !rite about because it$s more intuitive or sensory. =ut ust believe me... 4hen you find the #ey of a song 'using your ear(, there$s ust this level of confidence !hen you hit the right LE2 versus a close match or the !rong #ey. Ehe )real* #ey can usually be sounded over ust about any chord or verse or section of the song and it$ll !or#. 1gain, it$s more about the )big picture.* & did a tutorial about this at http%;;!!!.hearandplay.com;finding#ey. & !ould chec# it out 1FEE< 23U$<E B3CE 4&E, E,&S <EP3<E. Ehese are ust a fe! tips to help you in this area... Other things in'#ude% Aearning ho! to combine separate patterns together to play real songs. ,o! to expand your initial chords and play them more advanced once you$ve figured out the basic blueprint of the song. ,o! to use !hat you #no! about the number system and patterns to play the same song in all /0 #eys TU&CLA2. ,o! to inter!eave the melody in and out of your chords to produce a recogni>able rendition of the song that people !ill 7uic#ly catch on to 'even !ithout a singer present(.

&USI6IAN 9/ The one 1ho '"n=t "dd their o1n !#"(or "nd 're"ti(ity to songs "nd #"'@s the s@i##s to i %ro(ise "nd 'hoose other "#tern"ti(e routes to %#"y+++.

Ehis musician can play songs. Can play patterns. Lno!s chords too+

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

=ut they can$t use their ear to come up !ith other routes and alternatives to !hat they$re playing. Ehey have EA0 EFFI6IEN6Y. 5E+E+7 problems. 1nd truth be told, it$s probably only /3Q e"r !ith the remaining recipe being #no!ledge and reinforcement of patterns and ho! the circle of fifths chart !or#s. &nstead of thin#ing of the #ey of 6 ">or as%

From 6 to D... D to E... E to F 'basically the normal !ay of playing it% ' D E F G A B '( ,ere$s another !ay to loo# at the ma or scale """ =UE E,&S E&ME, in the actual !ay most songs flo!% Ehe 6 6ir'u#"r &">or S'"#e. '& made it up(... =KEK1KBK.K6KF 5K 8K?K0KIK :K F

& #no! this is !ay different than you$re used to thin#ing about the scale... but basically, it$s the EX1CE C3EES 'nothing left out( but simply played in the same order as the #"r#le o2 2"2t s%

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The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

=ut here$s the ama>ing part... 4hen you learn every ma or scale this !ay '!hich isn$t hard because they all overlap(, you$re already training your brain to thin# in this ne! musical direction. 1nd since & estimate ma ority of songs move )C&<CUA1<A2* 'in the same direction sho!n above(, you are tapped into something that fe! musicians #no! or understand. =ut here$s !here creativity and improvisation come in... Say you$ve pic#ed out the bass to a song in the #ey of C. Say your bass is% 6 P ) P A Ehat means it starts on some type of chord on 6... then moves to some type of chord on )... then finally to some type of chord on A+ Lno!ing !hat you #no! about circular movements and ho! great they sound, you can insert chords into this progression and it !ould sound even better+ 4hy don$t !e add E. after the )J. 4hyG =ecause if you loo# at the circle of fifths, )E* is actually in bet!een )=* and )1.* =KEK1KBK.KCKF

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

1t the moment, the song is going from = to 1, !hich is fine. &t$s ust moving do!n the C ma or scale, !hich happens a lot too '!e call this (step/ise motion+ ... very close movements from one scale tone to the next(. =ut if !e !anted to ma#e this progression more appealing, !e could insert some type of )E* chord after the = chord and it !ill give us an even stronger connection to the 1 chord. CK=KEK1 Ehis is exactly ho! songs li#e (Than' >ou Lor#+ !or#. Leep in mind that !e are ust tal#ing about bass notes. 4e haven$t established any specific chords yet. =ut if !e !anted to establish chords, !e !ould simply as# our self% (=elf- /hat chor#s are most li'ely to occur on these tones of the scale:+ 1nd based on previous training 'see P.P. R ($attern $roficiency+(, you$d #no! that these chords could !or#% 6 ">or I P ) h"#!;di inished I P E inor I P A inor I

Cote% &$m ust using the chords that naturally occur on these tones of the scale. &f & !anted to change things up a little bit, &$d probably change the )E minor 5* chord to a dominant"sounding chord. 4hen you use dominant )bluesy* sounding chords, they al!ays SE<EC.E,EC the connection bet!een !hatever chord comes next in the circular pattern. So by changing this to )E5* 'E dominant 5(, no! !e have an even stronger push to the next chord% 6 ">or I P ) h"#!;di inished I P EI P A inor I

So that$s all the )#no!ledge* part of the e7uation. &t ta#es the ear to actually hear that the )E5* !or#s better than the )E minor 5.* 1nd if both can !or#, simply use one the first time around and use the other option !hen you repeat the song... PLAYIN$ )Y EA0 IS ALL A)OUT HAAIN$ OPTIONS+ Co!, here$s one last tip... 4hen a collection of chords sound really good and are almost predictable even before you hear them 'there are many songs li#e this(, chances are it$s moving in a 'ir'u#"r !"shion+

-41-

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

4hen it sounds li#e something you$ve heard before... !hen the pattern is ust very familiar to you... then it$s probably circular. 2ou can probably pic# out the bass notes by literally ta#ing out a fe! chun#s of the circle. Seriously. Co!, of course, the circle doesn$t 1A412S !or#. Cotes s#ip around. Passing chords are in ected bet!een )main* movements. =ut it$s usually at !or# under the hood and at least if you ta#e the time to understand it, the )ear* part of playing !ill come a lot easier. &n tennis, &$m told a lot has to do !ith mental strategy. 2eah, you may be able to hit the ball hard by brute strength. =ut the best players are strategic. Ehe same thing is true !hen playing by ear. 2ou can #ill yourself trying to pic# out every little thing, note for note, bass for bass, chord for chord... but you$ll become exhausted and discouraged. Ehere$s a better !ay and the purpose of this report !as to introduce you to that better /ay. 1nd there$s a !hole lot more shortcuts !here these came from. &n fact...

I! you re"##y 1"nt to 2e'o e " T0ANSFO0&ED &USI6IAN, then re"d 1h"t !o##o1s ne-t+++.
Aet$s face it. .etting to the next level ain$t gonna happen by hanging around the local church musician. S/( Most don$t !anna sho! you anything. S0( &f they do sho! you something, they aren$t expecting you to pic# it up. Ehat$s !hy they play it so fast and !ill rarely !ait for you to !rite anything do!n or internali>e it. S8( Eeachers don$t #no! the real )nitty gritty* gospel stuff. Ehey can try to repac#age )blues* and )soulful* playing as gospel but it ust ain$t the same. SF( Aast time & chec#ed, universities and colleges don$t have programs for the type of gospel music !e play in our churches 'praise, !orship, shouting music, etc(. 1nd that$s exactly !hy the ne! MUS&C&1C E<1CSF3<M1E&3C system is in such demand.

Ehis is the only system that actually sho!s the ECE&<E P<3CESS from the basics and fundamentals all the !ay to advanced !ays to play songs. &t is truly )1 to D.* =efore this program, there has never been a )real* gospel resource that sho!s everything. There=s su'h " 2uOO "2out this "#re"dy !ro the %"st three #"un'hes " 'ou%#e ye"rs "go th"t it 1i## %ro2"2#y se## out on Thursd"y, No(e 2er :, <3:<, 1hen it=s !in"##y re;re#e"sed 5"!ter < ye"rs o! 2eing o!! the "r@et7! Ehe last time !e had a ma or launch bac# in 1pril 0:/:, !e sold out our entire inventory in ust E,<EE ,3U<S. & !ouldn$t even call it a )A1UCC,* since it sold out almost instantly. 1nd it$s no surprise there$s such a pent up demand for this. & believe it$ll really fly off the shelves !hen people discover this program has I SEP1<1EE BPB C3U<SES, 5 1UB&3 CBS, and tons of bonus discs and stuff '... that$s /0 discs, not including any bonuses+( &t$s literally the =&..ESE, M3SE C3MP<E,ECS&PE, M3SE C3MPAEEE ')1"to"D*( resource !e$ve ever released to date... in almost /: years of being online. 1s Micheal -ac#son says, THIS IS IT+.

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The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

E(ery DAD 'o(ers one e#e

ent o! the !or

u#"8

Fundamental Fa#tory is !here you master the FUNDA&ENTAL FLUEN6Y. strategies discussed earlier. &t$s going to ta#e you through literally everything you need to #no! to build a solid foundation as a gospel musician. 1fter this BPB, you$ll have that roc# solid base upon !hich everything else !ill be built. &ANY $OSPEL &USI6IANS S*IP THESE FUNDA&ENTALS AND IT 6AUSES THE& TO )E STU6* FO0EAE0+ Cot you. ' ord 'ounty is !here you master the 6HO0DAL 6O&&AND. techni7ues and principles !e tal#ed about. 2ou$re going to learn EPE<2 C,3<B used in gospel music. 1ll of them. &f it$s common and used in gospel music, it$s in this course. Ehe best part is that you$re going to learn all the shortcuts. 2ou got to see a glimpse of ho! all chords are related. Chor# County !ill delve into each one, step by step. :attern :arad"se is !here you master the PATTE0N P0OFI6IEN6Y. concepts from above. &magine a BPB dedicated ust to patterns. ,o! they$re formed. ,o! they !or#. 4here to find them. ,o! to use them, step by step. 1nd if you$ve gotten 3CE thing out of this free report, it should be that% SON$S A0E FULL OF 0EPEATED, P0EDI6TA)LE PATTE0NS THAT O66U0 OAE0 AND OAE0 A$AIN+ Pattern Paradise !ill ma#e this plain !ith tons of real"life examples, demonstrations, and illustrations. (on0 (tat"on is !here you master the SON$ SOLIDITY. strategies !e explored... plus lots more.

-ust imagine a song being taught to you from the E3E1A =E.&CC&C.. & mean the T*T%L <6H,NN,NH. 1nd by the end of the song, after applying everything you$ve learned, you have a beautiful masterpiece !ith advanced chords and movements that you$ve built up over time. Ehat$s the beauty of YSong St"tion= and by the end of this BPB alone, you$ll be transforming a basic hymn that you learn from Yground >ero$ into an advanced contemporary piece of art.

Ear Ele$ator covers the EA0 EFFI6IEN6Y. methods and concepts !e delved into to!ards the end of this report. Ehis !ill bring everything together by detailing ho! to use your ear to not only determine ho! songs are arranged and !here they$re going, but to create your o!n renditions and routes *N T"6 =$*T. &t basically sho!s you ho! to ta#e full advantage of your ear and ho! to use !hat you #no! to CEPE< play the same thing, the same !ay... E4&CE+ 'Playing by ear is about having freedom... you don$t have to play your songs the same !ay every time.( 4he!!!+ Ehere you have it... And th"t=s >ust the DADs 2ou also get audio cd companions, bonus dvd footage, and more. Ehis pac#age is loaded !ith everything you need to become a T0ANSFO0&ED &USI6IAN+ Ehat$s !hy !e call it &USI6IAN T0ANSFO0&ATION+ 1nd you$ll get all of it on Thursd"y, No(e 2er :, <3:<+++

&AY)E
Ehe reason & say )Maybe* is because !e$ve only ordered /::: pac#ages. 1nd as of today, !e have about 8/0,I/6 musicians on our mailing list 'a !hole @6,::: more than !e had during our last dvd release that sold out in 8 hours(. So &$m expecting this one to definitely sell out even faster, considering it is the =&..ESE, most comprehensive course !e$ve ever offered, PE<&3B+ Ehere$s literally nothing to compare it to.

6ourses "re 2eing "1"rded on " !irst;'o

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e, !irst;ser(ed 2"sis+++

The Musician Transformation 12-Disc System Re-launches Thursday, November 1, 2012. Visit www.hearandplay.com/mt for early bird priority notification list.

&f you$re interested in getting your hands on this program, & strongly urge you to get on our Priority Cotification list immediately at htt%8NN111+he"r"nd%#"y+'o N t Boing so !on$t obligate you to buy the course, but you !ill get 1BP1CCE notice of !hen it$s released... therefore increasing your chances of getting your copy !ith all the extra bonuses and stuff. Ehan#s for reading and & hope you got a lot out of this+ , sure got a lot out of creating it4 1ll the best, -ermaine .riggs