It All Grows from the Scale
Thirds, then what comes next
Play along. The recording stays in concert B-flat; the notation follows your instrument.
The music, the voice and the scrolling score slow down together; the pitch stays the same.
Drag A and B (they snap to the bar lines), then press “Loop this section”.
Four bars to a line. It follows the instrument you choose above.
The words of this chorus recite the whole method: first scales, then thirds, then fourths, fifths, broken scales, pentatonics. The notes show what happens once the thirds are truly learned: they can leave home. Bar 1 is the exercise, C to E, D to F. In bar 2 the very same shape slides up a half step, C-sharp to F, D-sharp to F-sharp, outside the key for a moment. In bar 4 it slips into the flat side, B-flat to D-flat, G-flat to B-flat, and in bar 5 it walks back in: A to C, B-flat to D, C to E-flat. A player can only move a pattern in and out of the key like that when it has been practiced in all twelve keys, because every one of those "outside" thirds is simply the same exercise in a neighboring key. That is why The Whole Horn asks for every pattern in all twelve keys: not for its own sake, but so that the whole instrument is available when the music asks for it.