One thing I disagree on is the 3 Cs and the two Fs. I feel it does matter which one you play . When reading most definitely it matters which one you play. It also matters when your doing corner switching. Also, arpeggios and legato and non legato phrases. Robert Bonfiglio beat this into my head enough so I gotta pass it on.
---------- Emile "Diggs" D'Amico a Legend In His Own Mind How you doin'
By the way, Diggsblues, I do suggest that tonality would affect your choice, that could be a part of the legato and non legtato that you are speaking of. I also suggest logistics matter. I just do not go into all my opinions in the video. I feel to lay out a bunch of rules with a beginning chromatic player who really is most likely watching my videos to learn diatonic would discourage the player. I also feel that finding your own method is valuable. Still, I have never studied with Robert Bonfiglio and I am curious as to his rules. If you could put them into an easy to understand method I would be grateful. Michael
Cmaj arpeggio c above middle c 5678 blow Cmin7b5 use the b# all draw button in. b to c trill. use the b#. E to f trill use the e#.When your reading it's always important to know which c your using. This is not so much because of the c but because of other notes that are in same hole. I'm on c but is it 4 or 5 will the next note be b or d. One old rule when playing a C scale use 4 on the way up 5 coming down. This is useful for reading so you don't make jumps you don't need to. I've made my own exceptions but that's my rules. This could go on and on using real music examples. If your really interested try contacting Robert he has enough exercises for a lifetime.
---------- Emile "Diggs" D'Amico a Legend In His Own Mind How you doin'
