Download the PDFs at: www.jazzlessonvideos.com/pdf-packages Mouthpiece: use $10 coupon code CHADXSYOS at www.syos.co/en/shop/products/signature-saxophone-mouthpiece/chad-lefkowitz-brown-tenor
Please help. I am pulling my hair out. Enclosure example #5 you say the pattern is #6-7-2-b2-7-1-2-3-1. In the second bar outlining the 2nd degree (D) you play Db-E-Eb-Db-D-E-F-Db. I don't think the adjustments for half steps are explained adequately. It seems there is more here than "use the diatonic second degree from the third since we can't have a lowered second". That explains B (the raised 6th) becoming Db but why does the following note become an E (the 2nd) when you say to play the seventh. I understand it is likely because of need to "resolve" but perhaps the half step adjustments need some explanation. Apart from that these are great methods to bebop and progressing from diatonic scalar playing, which is why I would appreciate a little more insight into half step "adjustments" for the enclosures. Thank you
Thank you so much Chad for your generosity showing so clearly the subject approach notes! And also congratulations for your nice playing! Roberto Sion, saxophonist and teacher, Sao Paulo, Brasil.
Fantastic stuff - I wish someone had shown me this systematic approach forty years ago when I was starting on jazz guitar - in the end I stumbled into it piece-meal - btw, all the great bebop guitarists - eg. Jimmy Rainey - tried to emulate sax lines, so it’s approprIate that the best instructor should be a sax player!
Yea, I'm a guitarist, too (and also a big admirer of Jimmy Rainey). When it comes to bebop, I prefer to "steal" my stuff directly from sax players. And Chad is the best one I've found so far on UA-cam.
I have been enjoying these videos. I just transcribed all these enclosures on my Banjo. This has opened up lots of new pathways on my instrument. Thanks!
2:43 great eg. just got this under my fingers at half speed. you're a champ. this stuff works. Ive started on the exercises. Putting to memory 1 a day over the full range of the horn. 180 days later i will have played every exercise, yeh!
Wow! I have always wanted to get better at surround technique but always struggled coming up with patterns on the spot. This is so bloody helpful!! Thanks! :)
It will take me some time to learn it, but this is “gold”. This is one of the great differences between a real master musician and amateurs like me: hours of practice. Tried the first three exercises on diminished and it really rocks, euhmmm... jazzes. Super stuff. Just one minor critique: explanation video is without notes, notes pdf is without explanation. Adding some explanation in the pdf would help. But, anyways: thx!
Awesome, I'm still practicing the warm up drills on my bass, can't wait to get going with these as well. This stuff is really opening up cool ways to create interesting lines. I'm transcribing your stuff but I'm very pleased to see that you have transposed this stuff to bass cleff. Thanks for sharing!
Love your stuff man, when you play the exercise on the sax or the piano it might be better if your viewers will see you fingers, it's not must to be in slow motion but it could help to improve there understanding and in the end it will benifit you as well:)
Id love to read the comments of those who gave thumbs down... 🤔. Guess you guys should go and watch mickey mouse. This is some advanced cool shit. Im not a sax player, but its so cool to have an insight in how other instrumentalists approach improv, and this is super cool, because all of us look at the same thing in many different ways and you just never stop lesrning new or better ways to teach or learn. Cheers!
Bought the package deal this week.. Do you recommend learning say exercise one in all 12 keys or learn in one key then exercise 2 etc.. until the sounds are nailed then move into more keys ?
If someone can help me with a question about the 1st example, I will be so grateful. Why it's ascending; "1, chromatic below to 1, 1, chromatic below to 2" then resolves on 2 and become the new 1. And descending it's; "1, diatonic upper 1, 1, chromatic upper 7" and resolves on 7 and become the new 1. Instead of descending as; 1, chromatic upper 1, 1, chromatic upper 7" and then resolve on 7 becoming the new 1? I find the sound of the diatonic upper one more soft and melodic, even I adventure to say more beautiful for me. But, did it not changed the original idea for a different one?
Sorry but I'll ask a very noob question (well I'm a beginner so ... ^^). I bought the whole pack and it wrote in concert key. I play on Alto, so for example the 1st exercice (at 3:14) that begin with a low C, must I play the C key on the mid range of my sax (so just the 3rd finger of my left hand only) or must I transpose the C on the sheet to an A, and transpose all the entire exercice ?
***Question*** Is the down pattern of exercise 11 correct? One bar before the last, in concert C: C-E-Eb-C#-D-C-B-Bb shouldn't it be after the pattern, in order to be consistent: C-E-C-C#-D-C-B-Bb ??? I think an important thing is missing here, and that is to explain the algorithm behind every pattern in a more detailed way (e.g. exercise number 11). That would be at least for me more useful than just reading notes. Else, thanks a lot Chad for your educational videos: they go straight to the point and present reach and useful exercises!
This cat needs to make money like all of us, so of course he is not gonna give it all away for free to the lazy man, when he actually wants to sell his books. And in this video he actually shows all the examples from his book, but of course goes through it fast, so the lazy musician will buy the book instead of using his ears 😉 so pay or use your ears, your choice 😜
I just realized recently that David Sanborn can use JUST a single blues scale (with 6th, M3) over a whole tune I think it sounds great. If you could create a resource to get into his "bag" that would be great.
I would call that a pentatonic scale. A "Blues" scale has b5, b7, b3 and no 6th. Now if you play a C major pentatonic over an A7 chord that's pretty close to an A Blues scale. I like to practice my pentatonics with passing tones between the 2 and 3 and 5 and 6 to even them out. So over a rock tune based on an A7 I would use a C pentatonic of the form C D (D#) E G (G#) A C. You can always "go blues" at any point in any song. The sound is so burnt into our ears that we hear the sound and ignore whatever conflicts it may be creating with the actual chord changes. You might want to check out Ramon Ricker's Pentatonic Scales for Jazz Improvisation.
@@sfpratt1954He kind of separates the use them as scales, e.g. he will descend the blues scale down to say the m3 and then hit the M3 and up to the root to put the major sound at the end of the phrase. It's like magic.
Very Cool ! Thx ! maybe one thing, In #1 exercise, the logic would be that we also use the descending minor third when chromaticism is not possible, as you proposed for the ascending motiv.
@@icecreamforcrowhurst.... Just pointing out that English is not his mother-tongue (judging by the name). Hence, he may not have caught that piece of information in the video, due to inablilty to understand a native speaker speaking at natural speed. He also may not have read the description. Something to take into consideration maybe...
Sorry but I had a question in exercise 11 - 5 Enclosure in descending form, the writing in the score has a small difference with what is played here in the video and it also makes sense, when the note "G" c
Hi there! Thanks for your excellent work, I’ve just bought the“hole pack“😉 One thing I‘m really missing though are the chord changes for the „15 Approaches“. Without indicating them it‘s guess work to know what your doing or what you‘re actually approaching or enclosing (functionaly). Thanks anyway!
Thank you, Oli! Hope you enjoy the PDFs :) I believe it’s explained in this video that all the exercises function modally, and so just like a scale exercise that moves up each degree and functions modally in it’s harmonic sequence (Cmaj7, D-7, E-7 etc...) the same applies to each exercise in this PDF.
Just bought this and it's a lot of great material but I would like to ask please if there was scope for an added page or two explanation of how they break down please. Basically I'm finding myself going round in circles wondering ' is that a semitone up because it's diatonic or is it part of the approach?' or ' is that a stepwise tone below to circle the note or is it the set up for the next note?' etc. Literally just one small paragraph on each exercise would really help please? An explanation of the breakdown of at possible? Ps I understand the patterns change around semitone intervals in the scale for obvious reasons as opposed to the tone intervals.. it's just the other details basically that are confusing me. Please help, thank you!
An bebop enclosure is usually defined 1/2 step above the target note, to a 1/2 step below the target note, to the target note (with the target note usually landing on beat 1 or 3). For example you might start a descending G7 bebop dominant scale with Ab F# (G F# F E D C B A G). Or both the approach notes could be chord tones. Say F - Eb - E going from an F7 to a C chord. Yes, some of the time one of the enclosure notes may be a scale tone, or a chord tone, but that doesn't change the fact that it's an enclosure. Classical composers used enclosures as well but they were diatonic. So say melody notes of D - B - C going from a G7 to a C chord.
How are you Chad, I am an immigrant in South Africa and cannot access a bank account online. I want to buy some pdf. Please tell me if there is another way I can deposit the money. Thanks🙏
I just downloaded it. You would need to use them with the video. It would have been good if the pdf also had some commentary to say exactly what is taking place - what is being enclosed/approached etc. Its just the patterns written out in different keys. I have uses this kind of stuff in my playing already. But Chad is such a great player I wanted to have a look. Patterns on their own can be easy to forget. You would just have to take one example and work on it and use it in a few places in a song you are working on.
Since when does Selmer make orange mouthpieces? That's a SYOS custom 3D printed mouthpiece and he uses Lupifaro reeds and saxes. And I think that's a KB Sax redwood neck.
Looking at enclosure exercise#5, starting at the 2nd bar is puzzling. You say the pattern is b6-7-2-b2-7-1-2-3-1 and you notate Db-E-Eb-Db-D-E-F-Db-D. I don't think you explain the accommodations for half steps in any detail, apart from "using the diatonic second degree from the third since we can't have a lowered second."
Genau so sehe ich das auch. Das ganze Transkribieren oder aber auch Abspielen von Transkriptionen bringt überhaupt nichts wenn nicht versteht was harmonisch oder aber auch melodisch passiert!
Thanks for getting the pdf package and sorry to hear about the download issue! Send an email through the contact form at www.chadlb.com or www.jazzlessonvideos.com and it will go directly to our customer service team. Thanks!!
15 approach notes? That's quite a lot to fit in before the beat. "7...8....9.....wait for it we're going to resolve soon....10....11......12.....nearly there.....13.....14......15....and now we're at the C"
I think you need to be clearer about what exactly you mean people to do, ex,3 for example "and then moving chromatically" ? I'm sure you know what you mean but I don't
Download the PDFs at: www.jazzlessonvideos.com/pdf-packages
Mouthpiece: use $10 coupon code CHADXSYOS at www.syos.co/en/shop/products/signature-saxophone-mouthpiece/chad-lefkowitz-brown-tenor
Please help. I am pulling my hair out. Enclosure example #5 you say the pattern is #6-7-2-b2-7-1-2-3-1. In the second bar outlining the 2nd degree (D) you play Db-E-Eb-Db-D-E-F-Db. I don't think the adjustments for half steps are explained adequately. It seems there is more here than "use the diatonic second degree from the third since we can't have a lowered second". That explains B (the raised 6th) becoming Db but why does the following note become an E (the 2nd) when you say to play the seventh. I understand it is likely because of need to "resolve" but perhaps the half step adjustments need some explanation. Apart from that these are great methods to bebop and progressing from diatonic scalar playing, which is why I would appreciate a little more insight into half step "adjustments" for the enclosures. Thank you
1) Approach Note 1 3:50
2) Approach Note 2 4:20
3) Approach Note 3 5:06 5:20
4) Approach Note 4 5:48 6:05
5) Approach Note 5 7:02
6) Approach Note 6 7:36
7) Enclosure 1 8:33
8) Enclosure 2 9:22
9) Enclosure 3 10:13
10) Enclosure 4 10:47
11) Enclosure 5 11:31
12) Enclosure 6 12:46
13) Approach Notes With Modal Arpeggios 11:35
14) Enclosure Cell Moving Chromatically 1 14:27
15) Enclosure Cell Moving Chromatically 2 15:26
Your material MAXIMIZES PRACTICE TIME. It’s crazy how smart education trumps years of public school music Ed. Thanks
agreed. but can we stop using that word?
@@rillloudmother what word?
@@BrunoNeureiter trumps...
@@rillloudmother ha!
This vídeo has changed my Life, has opened so many paths...... Thank you so much Chad!
Thank you so much Chad for your generosity showing so clearly the subject approach notes! And also congratulations for your nice playing! Roberto Sion, saxophonist and teacher, Sao Paulo, Brasil.
Fantastic stuff - I wish someone had shown me this systematic approach forty years ago when I was starting on jazz guitar - in the end I stumbled into it piece-meal - btw, all the great bebop guitarists - eg. Jimmy Rainey - tried to emulate sax lines, so it’s approprIate that the best instructor should be a sax player!
Yea, I'm a guitarist, too (and also a big admirer of Jimmy Rainey). When it comes to bebop, I prefer to "steal" my stuff directly from sax players. And Chad is the best one I've found so far on UA-cam.
@@Fitzliputzli23 same for me with the violin
I have been enjoying these videos. I just transcribed all these enclosures on my Banjo. This has opened up lots of new pathways on my instrument. Thanks!
5 string ? Love to see them
2:43 great eg. just got this under my fingers at half speed. you're a champ. this stuff works. Ive started on the exercises. Putting to memory 1 a day over the full range of the horn. 180 days later i will have played every exercise, yeh!
Wow! I have always wanted to get better at surround technique but always struggled coming up with patterns on the spot. This is so bloody helpful!! Thanks! :)
Thats exactly what makes the difference! Good enclosures make the Parker-sound. Your exercises are worth pure gold, man!
Congratulations @100k Subscribers Chad. Well deserved👍
Just found this channel, rank beginner, wow. This is fantastic. Such a gift! Thank you!
highly actionable info man thanks
It will take me some time to learn it, but this is “gold”. This is one of the great differences between a real master musician and amateurs like me: hours of practice. Tried the first three exercises on diminished and it really rocks, euhmmm... jazzes. Super stuff. Just one minor critique: explanation video is without notes, notes pdf is without explanation. Adding some explanation in the pdf would help. But, anyways: thx!
I initially had the same reaction, but the lack of notes forces you into deep thinking mode.
That's incredible value, 5 to 10 years of practice for just $19-99 Love ya work Mr Brown, big thank you!
Awesome, I'm still practicing the warm up drills on my bass, can't wait to get going with these as well. This stuff is really opening up cool ways to create interesting lines. I'm transcribing your stuff but I'm very pleased to see that you have transposed this stuff to bass cleff. Thanks for sharing!
I am learning a lot from you.
Thank you.
for extra fun, slow this down to half speed... easier to "get", and he looks really high!
also, the eyebrow is a "tell" for approach below!
Good stuff....ex 1 starts 3:11
Thank you!
Thank you!!
Love your stuff man, when you play the exercise on the sax or the piano it might be better if your viewers will see you fingers, it's not must to be in slow motion but it could help to improve there understanding and in the end it will benifit you as well:)
Thank you very much!!
Awesome exercises, I can't wait to try them out! Thanks for the wonderful explanations too, very insightful :)
Wonderful!! Purchased the book. Absolutely great exercises!! Thanks so much!
This is GREAT!!!!!! Thanks. I'll be applying this to guitar. 🎼🤘🎶🎷🎧🎸🤩
thank u so much man! internalizing these sounds will be a lot easier now that i am not limited to transcriptions played over specific changes
Man what a great tone!!!
Wish I could buy and download that! Thanks for the BeBop know how! Just downloaded your book!
thank you so much for this video
Purchased both now!
Dear Chad, thanks a lot for all materials. It is really useful. Could you tell please what mouthpiece do you use at this video?
really needed this! The timing has never been so perfect! thanks man!
So cool thanks
Chad L.B. plays some fierce saxophone scrambling while remaining almost perfectly still from the torso on up.
Thank you.
Id love to read the comments of those who gave thumbs down... 🤔. Guess you guys should go and watch mickey mouse. This is some advanced cool shit. Im not a sax player, but its so cool to have an insight in how other instrumentalists approach improv, and this is super cool, because all of us look at the same thing in many different ways and you just never stop lesrning new or better ways to teach or learn. Cheers!
Is there a downwards pattern for exercise 8? It’s not in the video. Great stuff, by the way.
Thank you for the videos!!!!!!!!!!!
Bought the package deal this week..
Do you recommend learning say exercise one in all 12 keys or learn in one key then exercise 2 etc.. until the sounds are nailed then move into more keys ?
thanks a lot
LOVE LOVE LOVE THIS!!! So will you come out with a pentatonic pattern book as well?
Yes, yes, yes!
Jerry Bergonzi has many pentatonic books you should check those out!
Chad this is really good.
THANK YOU BRO!
If someone can help me with a question about the 1st example, I will be so grateful.
Why it's ascending; "1, chromatic below to 1, 1, chromatic below to 2" then resolves on 2 and become the new 1. And descending it's; "1, diatonic upper 1, 1, chromatic upper 7" and resolves on 7 and become the new 1.
Instead of descending as; 1, chromatic upper 1, 1, chromatic upper 7" and then resolve on 7 becoming the new 1?
I find the sound of the diatonic upper one more soft and melodic, even I adventure to say more beautiful for me. But, did it not changed the original idea for a different one?
A mí eso me tuvo dándole vueltas un tiempo, no sé por qué lo hizo así, pero sí, no corresponde la versión ascendente y la descendente.
chad the god
This is great. Thx so much!!
How do you play with such accuracy those quantity of notes? Have you internalized and mechanized the fingerings???
Sorry but I'll ask a very noob question (well I'm a beginner so ... ^^). I bought the whole pack and it wrote in concert key. I play on Alto, so for example the 1st exercice (at 3:14) that begin with a low C, must I play the C key on the mid range of my sax (so just the 3rd finger of my left hand only) or must I transpose the C on the sheet to an A, and transpose all the entire exercice ?
@Probably a human Thanks ! :)
Just bought the book thanks man!
awesome, musical exercises!
***Question*** Is the down pattern of exercise 11 correct? One bar before the last, in concert C:
C-E-Eb-C#-D-C-B-Bb
shouldn't it be after the pattern, in order to be consistent:
C-E-C-C#-D-C-B-Bb
???
I think an important thing is missing here, and that is to explain the algorithm behind every pattern in a more detailed way (e.g. exercise number 11). That would be at least for me more useful than just reading notes.
Else, thanks a lot Chad for your educational videos: they go straight to the point and present reach and useful exercises!
This cat needs to make money like all of us, so of course he is not gonna give it all away for free to the lazy man, when he actually wants to sell his books. And in this video he actually shows all the examples from his book, but of course goes through it fast, so the lazy musician will buy the book instead of using his ears 😉 so pay or use your ears, your choice 😜
@@thejohn6040 Pretty entitled, sir.
I encountered this kind of exercises at the end of "neue Jazz Harmonielehre" by Frank Sikora , but yours are more elaborate
Great video. BTW, You sound a lot like Pete Christleib!
Pagando in contrassegno è possibile riceverlo in forma cartaceo , grazie 👍🎷
I just realized recently that David Sanborn can use JUST a single blues scale (with 6th, M3) over a whole tune I think it sounds great.
If you could create a resource to get into his "bag" that would be great.
I would call that a pentatonic scale. A "Blues" scale has b5, b7, b3 and no 6th. Now if you play a C major pentatonic over an A7 chord that's pretty close to an A Blues scale. I like to practice my pentatonics with passing tones between the 2 and 3 and 5 and 6 to even them out. So over a rock tune based on an A7 I would use a C pentatonic of the form C D (D#) E G (G#) A C. You can always "go blues" at any point in any song. The sound is so burnt into our ears that we hear the sound and ignore whatever conflicts it may be creating with the actual chord changes. You might want to check out Ramon Ricker's Pentatonic Scales for Jazz Improvisation.
@@sfpratt1954He kind of separates the use them as scales, e.g. he will descend the blues scale down to say the m3 and then hit the M3 and up to the root to put the major sound at the end of the phrase. It's like magic.
Thanks boss
But how do I use this for greater lines? And still confused 🤦♂️
Very Cool ! Thx ! maybe one thing, In #1 exercise, the logic would be that we also use the descending minor third when chromaticism is not possible, as you proposed for the ascending motiv.
Very helpfull
Question for enclosure say the one with 1flat..that would be Fmaj7 ?
great!!! when comes to Lima Peru?
Hey Chad are you making a new video for the new pdf?
Chad, does the PDF have tab for guitar?
Where can I buy your books. I'm very Interessed. Sincerely yours Ole-Birger.
Dude, the link is in the description just like he told you in the video
@@icecreamforcrowhurst.... Just pointing out that English is not his mother-tongue (judging by the name). Hence, he may not have caught that piece of information in the video, due to inablilty to understand a native speaker speaking at natural speed. He also may not have read the description. Something to take into consideration maybe...
Sorry but I had a question in exercise 11 - 5 Enclosure in descending form, the writing in the score has a small difference with what is played here in the video and it also makes sense, when the note "G" c
When the note "G" as a target!
Hi Chad and guys. I just bought his combo of pdfs...any recommendation on order to work on these or it doesn't matter?
Hi there!
Thanks for your excellent work, I’ve just bought the“hole pack“😉
One thing I‘m really missing though are the chord changes for the „15 Approaches“. Without indicating them it‘s guess work to know what your doing or what you‘re actually approaching or enclosing (functionaly).
Thanks anyway!
Thank you, Oli! Hope you enjoy the PDFs :) I believe it’s explained in this video that all the exercises function modally, and so just like a scale exercise that moves up each degree and functions modally in it’s harmonic sequence (Cmaj7, D-7, E-7 etc...) the same applies to each exercise in this PDF.
Hi where can i get this pack
Thanks
kevin owen you just follow the link in the description of this video to the store to, „package all 4“ is what it‘s labeled, choose your prefered key.
I think you might have to start using 'who's your daddy?' as your theme song.
Just bought this and it's a lot of great material but I would like to ask please if there was scope for an added page or two explanation of how they break down please. Basically I'm finding myself going round in circles wondering ' is that a semitone up because it's diatonic or is it part of the approach?' or ' is that a stepwise tone below to circle the note or is it the set up for the next note?' etc. Literally just one small paragraph on each exercise would really help please? An explanation of the breakdown of at possible? Ps I understand the patterns change around semitone intervals in the scale for obvious reasons as opposed to the tone intervals.. it's just the other details basically that are confusing me. Please help, thank you!
An bebop enclosure is usually defined 1/2 step above the target note, to a 1/2 step below the target note, to the target note (with the target note usually landing on beat 1 or 3). For example you might start a descending G7 bebop dominant scale with Ab F# (G F# F E D C B A G). Or both the approach notes could be chord tones. Say F - Eb - E going from an F7 to a C chord. Yes, some of the time one of the enclosure notes may be a scale tone, or a chord tone, but that doesn't change the fact that it's an enclosure. Classical composers used enclosures as well but they were diatonic. So say melody notes of D - B - C going from a G7 to a C chord.
How are you Chad, I am an immigrant in South Africa and cannot access a bank account online. I want to buy some pdf. Please tell me if there is another way I can deposit the money. Thanks🙏
Am I the only one who finds these exercises so formulaic ?
That’s the point of a musical exercise.
So these exercises are over Major 7th chords?
you can play ii-V-I under the exercises
Does anyone knows if along with the pdf’s also we can download the example about how it supposed to sound????
I just downloaded it. You would need to use them with the video. It would have been good if the pdf also had some commentary to say exactly what is taking place - what is being enclosed/approached etc. Its just the patterns written out in different keys. I have uses this kind of stuff in my playing already. But Chad is such a great player I wanted to have a look. Patterns on their own can be easy to forget. You would just have to take one example and work on it and use it in a few places in a song you are working on.
What mouthpiece, Reed, ligature are you using?
James Hollis the Lig is a Silverstein.
The mouthpiece is a Selmer Concept...
Since when does Selmer make orange mouthpieces? That's a SYOS custom 3D printed mouthpiece and he uses Lupifaro reeds and saxes. And I think that's a KB Sax redwood neck.
Eli Wyatt lmao I just wanted to troll. I had no idea what mouthpiece it was
@@Saxologic Ha lol
Can you please demonstrate on a slower ttempo so we can easily get it proper instead of you playing actual tempo
Damn good video man!!!!!
Looking at enclosure exercise#5, starting at the 2nd bar is puzzling. You say the pattern is b6-7-2-b2-7-1-2-3-1 and you notate Db-E-Eb-Db-D-E-F-Db-D. I don't think you explain the accommodations for half steps in any detail, apart from "using the diatonic second degree from the third since we can't have a lowered second."
RED.....???
Me mata como queda el saxo volando mientras habla y gesticula con las manos
Genau so sehe ich das auch. Das ganze Transkribieren oder aber auch Abspielen von Transkriptionen bringt überhaupt nichts wenn nicht versteht was harmonisch oder aber auch melodisch passiert!
Yo!! What kind of mouthpiece is that?
No expert but I think it's a red one.
Just kidding they're called syos
Syos
I think you can explain faster
Chad: I bought the exercises but am unable to download them.......suggestion? Ben
Thanks for getting the pdf package and sorry to hear about the download issue! Send an email through the contact form at www.chadlb.com or www.jazzlessonvideos.com and it will go directly to our customer service team. Thanks!!
Syos
15 approach notes? That's quite a lot to fit in before the beat. "7...8....9.....wait for it we're going to resolve soon....10....11......12.....nearly there.....13.....14......15....and now we're at the C"
I think you need to be clearer about what exactly you mean people to do, ex,3 for example "and then moving chromatically" ? I'm sure you know what you mean but I don't
?