elements of improvisation for classical musicians line ... · elements of improvisation for...
TRANSCRIPT
NIELSTHYBO
ELEMENTSOFIMPROVISATIONFORCLASSICALMUSICIANS
LINEPLAYINGANDMORE
COMMISSIONEDBYDANISHNATIONALACADEMYOFMUSIC
FINANCIALLYSUPPORTEDBYTHEMINISTRYOFCULTUREDENMARK
1.VERSION
OCTOBER2016-MARCH2018
CONTENTS
•RELEVANTSOURCESOFINSPIRATION
A.EMBELLISHMENT
B.MOTIVICPLAYING
C."TONICS"
D.LADDERS
E."POLYFONIC"PLAYING
F."TIME":Periods,tempo,phrasing...
G.SUBDIVISIONS
H.ODDMETERS/changingmeters
I.PERCUSSIVEPLAYINGandEffects,
J.GENERALLY:Touch,Tone,Sound,Dynamics
K.MORESOURCESOFINSPIRATION:
L.REPERTOIRE
M.EXAMPLESofoOenplayedHarmonicSequences(≈Changes)andCadences
N.LINEPLAYING
O.SCALESYLLABUS,Modesandmore
P.SOMEIDEASOFHOWTOPRACTISEIMPROVISATION
44&A1
•ScaleNotes/PassingNotes•Approachnotes/TargetNotes,onthebeat/offthebeat(also:strong/week)
•Turns:OrnamentaBonoftargetnote,chromaBc/diatonicfrombelowatargetnote,fromaboveatargetnote,onthebeat/offthebeat...
•ChordalEmbellishment(≈suspension)
A:EMBELLISHMENTS
RelevantSourcesofInspiraBon:FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkan,
CadenzasinInstrumentalConcerts,Intervallic/Non-Tonal/Sound-Music
ScaleNotes(thisex.:IonianScale)
&A2
passingnoteó ó ó ó óPassingNotes-thuscreaBngachromaBcscale
&
Approachnoteonthebeat,minor2nd,frombelow,
A3
(Obs.:ApproachNotesplayedonthebeatmayalsobepartofasuspendedchord,thuscrea>ngharmonicandmelodictension;thoughnottobeconfusedw.tensionnotes=Extensions)
Targetnote
A4
Approachnoteoffthebeat,minor2nd,frombelow,
Approachnoteonthebeat,minor2nd,fromabove,
A5Approachnoteoffthebeat,minor2nd,fromabove,
A6
Approachnotes/TargetNotes,onthebeat/offthebeat(also:strong/week)
&Chroma>callyfrombelow/aboveApproachnote-linestartsonthebeat
A7
targetnoteChroma>callyfromabove/belowApproachnote-linestartsonthebeat
A8
Turns
&
Chroma>callyfrombelow/abovethroughtargetnote,approachnotesoffthebeat
A9
Chroma>callyfrombelow/abovethroughtargetnote,approachnotesonthebeat
A10
∑
œ œ œ œ œ œ œ œ
œ œ# œ œ# œ œ œ# œ œ# œ œb œn ˙ Ó
œ ˙ ™ Œ œ ˙ œb ˙ ™ Œ œb ˙
œ œb ˙ œb œ ˙
Œ œ œ œb ˙ œ œ œb œ
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ppLento
q=66
p
p
Allegre_o
Largo
34 2434 24
24 c
24 c
c
c
&Chroma>clinefrombelowapproachnote-linestartsonthebeat
A11Chroma>clinefromaboveapproachnote-linestartsonthebeat
A12
Chroma>cBowfrombelow/aboveapproachnote-linestartsonthebeat
A13
&A14
DoubleBowfrombelow/aboveapproachnotelinestartsoffthebeat
∑ & ####
& ####
References(3outoff.......examples):
A15a FrédéricChopin:Opus25Nr.7,leVhandlineinBar1(andfurtheron...)
∑ nnnn?####
etc.. nnnn
&
A15b W.AMozart:RondoallaTurca,first2barsincludingpickup...
>etc..
##
? ∑. . . . . . . . . . . ##
& ##A15c J.S.Bach:DasWohltemperierteKlavierI,Fuguenr.23inBminor,first4bars(andfurtheron...)
a4 Ÿetc..
nn
?## ∑ ∑ ∑ nn
œb œn ˙ œ œb ˙ œb œn œ<n> œb ˙ Ó
Ó ™ œb œn œ œb œ ˙ ™ Œ
‰ œœj œœ œœ
œ œ ™ œj œ œ# œ ™ œJ œn œ# œ œ œn œ œ œ# œ œ œ œ fiœn jœ œ œ œ˙
Œ œ œ œ# œ œJ ‰ œ œ œ œ œJ ‰ œ œ œ# œ œ œ œ# œ œ œ œ œ œ
œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œœ
‰ œ œ œ œ œ œ œ# œ œ# œn œ œ œ# œn œ# œ# œ œ œ ˙# œ ™ œ#‰ œJ
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D¨ triad (C major) D¨ triad C¨ triad(B¨ major)
B major triad A major triad B¨ major
B(#9) (C major) B(#9) B major
&
Chordalapproachline(majortriad)startsoffthebeatresolvingonthe5th(targetnote)oftheCmajor
A16
∑
A17
Doublechordalapproachline(majortriads)startsoffthebeatresolvingonthe3rd(targetnote)oftheBbmajor
Chordalapproachlines.(Playedonthebeatalsoiden>caltosuspendedbrokentriads)
&
A18 Doublechordalapproachline(majortriads)startsoffthebeatresolvingontheroottargetnote)oftheBbmajor
&
Chordalapproachlinestartsonthebeatresolvingonthe5thofaCmajorchord
A19
Approchapproachlinestartsonthebeatresolvingonthe5thofaCmajorchord
A20
‰ œ œb œb œ Œ ‰ œJ œb œb œb œb œb œ ˙n Ó
Ó ™ ‰ œbJ œn œ# œ# œ œ œ# œ œn ˙b Ó
œ# œ# œn œn ˙ œ# œ# œ œn ˙#
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Cadd2 Cminor G7 (¨9)
B major B¨ major
&
B1
Example:
Varia>onofmo>f,quota>on,sequencingofmo>f,altera>onofmo>f,inside/outsidemaintonality
(Relevance:Modalplaying/temporarymodula>on/permanentmodula>on)
MelodicMoBf
B:MOTIVICPLAYING
&home... bbbb
& bbbbExample:
B2 EmbellishingofMelodicMoBf.
nnnn
œ œ œ œ ˙ Ó œ œb œ œ ˙b Ó œ œ œb œ ˙ Ó
œ œ# œ œ# œ# œn œb œn ˙ Ó
œ œ œ œ ˙ ˙ œ œ œn œ œ# œ œ œn œb œ œ œb œn œ œb œn œ œn œb œ ˙
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&
B3
Examples:
minorseconds
IntervallicMoBf/IntervallicPlaying
Relevance:non-tonalplaying,"out"playing...
etc....
majorseconds
etc....
&minorthirds
etc....
majorthirds
etc....
&perfectfourths
etc....
augmentedfourths/dimishedfiVhs/tritones
etc....
&perfectfiVhs
etc....
augmentedfiVhs/minorsixths
etc....
&majorsixths
etc....
minorsevenths
etc....
&majorsevenths
etc....
minorninths
etc....
œ œb œ œb œ œ# œ# œ œb œb œ œn œn œ œ œ#
œ œb œ œn œ# œ œb œ œ œ œ œb œn œ œn œ
œ œ œb œb œn œ œ# œn œn œn œ œ# œb œ œ œb
œ œ œ# œ# œb œ œn œn œn œ œb œb œ# œ œ# œn
œn œ œ# œ œ# œn œ œ œ œ# œb œn œn œ œb œb
œ œb œn œb œ œ# œ# œ œ# œ œb œb œn œn œb œncopyright©nielsthybo2016/2017/2018
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&
B4
Examples:
Embellishingaminorsecond
EmbellishmentofIntervalsTheintervalinques>onbecomesatargetmo>f
etc....
Embellishingamajorsecond
etc....
&Embellishingaminorthird
etc....
Embellishingamajorthird
etc....
&Embellishingaperfectfourth
etc....
Embellishinganaugmentedfourth/diminishedfiVh
etc....
&EmbellishingaperfectfiVh
etc....
EmbellishinganaugmentedfiVh/minorsixth
etc....
&Embellishingaminorsixth
etc....
Embellishingamajorsixth
etc....
&Embellishingaminorseventh
etc....
Embellishingamajorseventh
etc....
Embellishingaminorninth
etc....
œb œn œn œ œn œb œ œ# œb œb œn œn œ œ# œn œ
œb œn œn œ# œ œ<#> œn œ œb œn œ œ# œ œn œ# œ
œ œ# œ# œ œb œb œn œn œn œ# œ œn œ# œn œ œ#
œ œb œb œb œn œ œn œbœ œ# œb œn œ# œ œ# œn
œ œb œb œn œ œn œ œœb œn œ# œ œb œn œ# œ
œ œn œb œ œb œb œn œn œ# œ œb œn œn œb œ œ œb œ œ# œ œn œ œ œ#
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&
couldbecome:
tryvariouschanges/varioustempo...
B5RhythmicMoBf/VariaBonofRhythmicMoBfConvertadrum-likefiguretoamelodicmo>fExamples:
&
VJ V ™ VJ V ™ V V V VJ V ™
œ# j œ ™ œj œ ™ œ œ œ œJ œ ™
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&
Theterm"Tonic"isderivedfromsuchscalenamesas"pentatonic"and"hexatonic".Tonicsaregroupsofnotesbeingplayed,movedaround,invertedandpermutedwithoutnecessarilybeingrelatedtothetonalityinques>on.(Permuta>on:Changingtheorderofthechordtones,randomlyoronpurpose)
All3-,4-,5-,6-notechordsmaybeconsideredastonics.Wewilldealwith:Tritonics,TriadsplayedasTonics,Tetratonics,Pentatonics,Hexatonics,Tonicsderivedfromdiminished/8-tonescales,andStackedFourthsplayedasTonics.
C1
Examples
Tritonic(add2) Tritonic(sus4)
C2
Augmentedtriad-tonic
C3
C:"TONICS"
&C4 Majortetratonic
rootposi>on 1.inversion 2.inversion 3.inversion
&C5 Minortetratonic(add2) ...inversions... C6 Minortetratonic(add4) ...inversions...
&C7 Majorpentatonic
...Inversions...C8 Minorpentatonic(min7)
...Inversions...
&C9 Minorpentatonic(min6)
...Inversions...
&C10 TheHexatonicstructuresmay,thoughtheyarebasicallyscales,beplayedastonics
œ œ œ œ œ œ œ œ œ#
œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œb œ œ œb œ œ
œ œ œn œ œ œ œb œ œ œb
œ œb œ œ œ
œ œ# œ œ œb œn œ<n> œb œn œ œ# œcopyright©nielsthybo2016/2017/2018
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&C11
4-and5-notegroupsderivedfromthedimished/8-tonescalesmaybeplayedastonics(octatonicscales:chapterO,ScaleSyllabus)
&
C12Anyintervalmaybeplayedasatonic,amongothers(oVen)thefourthIntervallicTonics
&C12 Examplesofpermuta>on
becomes: or: ect.
&C13 Examplesofmo>vicdevelopingofatonic(thisx:AugmentedTriad)
&
œ œb œb œ œ œb œ œb œ œ œb œb œb œ
œ œ œb
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ# œ œ œb œb œ œb œn œb œb œn œn œn œb œ œn
œ œ œ œ# œ œb ˙ ™ ˙# ™ œ ™ œb ™ ˙ ™copyright©nielsthybo2016/2017/2018
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&C14 Examplesofembellishingofatonic(thisx:5-notegrouped8-tone)
NOTDETAILEDINTHISVERSION
&C15 EmbellishmentofTonics
Reforto"Embellishment"
&C16
Broken Chords Playing/Chordal Motif(strings/keys)Someofthese exampleswillbesimiliartomellodicmo>fs,intervallicmo>fs,tonicsandmore.3-notechords:major/minor,sus2,sus44-notechords:major∆/minor∆,major∆#5,minor∆#5,add4,add#4,add9,add#9,add#11,4-part/8-partdiminished5-notechords:major/minor9th,diminished∆7,addintervaltoa4-notechord,broken/asarpeggios,changingdirec>on,”pickup"triads,as”Tonics”,asUpper-Structures,Inversions/Permuta>ons,Indside/Outside
Embellishing of Chordal Motif
3-notechords:major/minor,sus2,sus4
&C17 4-notechords:major∆/minor∆,major∆#5,minor∆#5,add4,add#4,add9,add#9,add#11,
&C18 4-part/8-partdiminished
&C19 5-notechords:major/minor9th,diminished∆7,
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&C20 Addintervaltoa4-notechord,
broken/asarpeggios,
NOTDETAILEDINTHISVERSION
&C21 Changingdirec>on,”pickup"triads
”Tonics”asUpper-Structures,
&C22 Inversions/Permuta>ons,Indside/Outside
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&D1
Various Ladders; upwards/downwards (keys: also symmetricacally)
TryvariousKeys,ScalesandChanges(Seele_erKforExamples)etc....
D:LADDERS
&D2
etc....
&D3
etc....
&D4
etc....
&D5
etc....
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œcopyright©nielsthybo2016/2017/2018
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&Two-partplaying/"False"two-partplaying
TryvariousChanges(SeelemerKforExamples)
Examples:
E."POLYFONICPLAYING";"
NOTDETAILEDINTHISVERSION
&Examples:
TryvariousChanges...
F."TIME":Periods,tempo,Phrasing...StarBngpointofPhrase,lenghtofphrase,phrasedynamics,
legato/nonlegato/staccato..
&tryvariouschanges...
Examples:
G.SUBDIVISIONS4th's,8t's,16th's,Triplets,Fivelets...,3-4-5-groupingsofsubdivisions/rhythmicdisplacement,
Polyrythmicphrasing.Free/randomphrasing......
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&tryvariouschanges..(XIIIa./XIIIb.)
Examples:
NOTDETAILEDINTHISVERSION
H.ODDMETERS,changingmeters
&Examples:
I.PERCUSSIVEPLAYINGandEffects,Strings:Bowpercussion,FingerPercussiononInstrument,Singwhileplayingetc...
WoodWinds:KeyClicking,SlapTonguing,singwhileplayingetc...
&
J.MoreSourcesofInspiraBon:Improbasedonnaturalsounds,concretesounds,overtones,electronics,visuals,gestures,phenomena,moods,colours,otherartforms...ImprovisaBonbasedoninstrumentaltechniqueClusters,StackedIntervals,No-keyplaying
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C G/B F/A C/G F C/E D- G7
C- B¨ A¨ G7
A¨ B¨ C
A¨ B¨ C-
C D¨ E¨ D¨ C
68
68 44
&
K1
FolkSongs,Tango,Bolero,Danzon,Choroandmore...
Decendingbassline,major:I-VII/3rd-IV/3rd-I/5th-IV-I/3rd-IImin-V7
Theyshouldallbetransposed,playedinseveralmeters,invaryingtempoesetc....feelfreetoexplore...(Changes:TheWaytheChordschangeasyouplayaSong/PieceofMusic...)
bbb
ModalPlaying•LinePlaying/PlayingChanges
K.EXAMPLESofoVenplayedHarmonicSequences/ChangesandCadences
& bbbK2
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkan,
Decendingbassline,minor:Iminor-bVII-bVI-V7
nnn
/ bbbOneofmorerhythmicpamernsfortheDanzonstyle
? nnn
&K3
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkanandmore...
Ascendingbassline,major:bVI-bVII-Imaj
&K4
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkanandmore...
Ascendingbassline,minor:bVI-bVII-Imin
&K5
Flamenco,Tango,Bolero,Danzon,Choro,Balkanandmore...
I-bII-bIII-bII-I
V V V V V V V V
+ + + +V V V V V V V ‰ VJ V
+ + +
+ + +
+ ™ + ™ V ™ V ™ + ™
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C A7 D7 G7
C- A-7(¨5) Dø7(¨9"9) G7alt
C F G C
C- F- G C-
C- F- G- C-
44&K6
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkan
Turnaround,major:I-VI7-II7-V7(Turnaround:OVenthelast2or4barsoftheChorusofasong)
bbb
Turnarounds
& bbb
K7
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,andmore...
Turnaround,minor:Imin-VIø-II7(alt)-VII7(alt)
& bbbK8
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkan,CadenzasinInstrumentalConcertsandmore...
Major:I-IV-V-I
Cadenzes
& bbbK9
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkan,CadenzasinInstrumentalConcertsandmore...
Minor:Imin-IVmin-V-Imin
& bbbK10
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkanandmore...
Imin-IVmin-Vmin-Imin
C-
+ + + +
+ + + +
+ + + +
+ + + +
+ + + +copyright©nielsthybo2016/2017/2018
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C- F-6 G7 (¨9) C-6
C-7 D-7 (¨5) G7 C-6
C G/B C C/E F6 G C G
D-7 G9 C² F²9 B-7(¨5) E7 (¨9) A-7 D9
C C#œ D-7 D#œ E-7 F#œ G-7 C7 F
& bbbK11
& bbbK12
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkanandmore...
Imin-IIø-V7-Imin6
nnn
&K13
FolkSongs,WienerClassicStyle
I-V/3rd-I-I/3rd-IV-V-I-V
&K14
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkanandmore...
IImin7-V7-Imaj-IVmaj9-VIIø-III7-VImin7-II9
DiatonicCircleof5ths
&K15
Flamenco,Tango,Bolero,Danzon,Choroandmore...
I-bII°-IIm7-bIII°-IIImin7-#IV°-Vmin7-I7>IV=newI
newsequenceinFORback:FB7E-7A7D-7G7CV-VII7-IVmin7-VI7-IImin7-V7-I
ModulaBngSequences(temporaryorstaying)
+ + + +
+ + + +
+ + + + + + + +
+ + + + + + + +
+ + + + + + + + + +
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C7 F7 B¨7 E¨7 A¨7 D¨7 G¨7 C¨7
C-7 F7 D-7 G7
C BøØ E7(¨9) A-7 A¨-7 G-7 C7 F% F-7 B¨7
E-7 E¨-7 D-7 G7 C% E¨^ A¨% D¨%
C triad/A triad F#/F E¨/E F triad/D¨ 5th
68
68
44
44
34
&K16
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkan
MechanicalCircleoffiVhs/fourths:C7-F7-Bb7-Eb7etc...
&K17
FolkSongs,Flamenco,Tango,Bolero,Danzon,Choro,Balkan,CadenzasinInstrumentalConcerts
MechanicalII-V'sCmin7-F7-Dmin7-A7etc....ordescending
etc...
&K18
IVIIøIII7VImin7bVImin7Vmin7I7IVIVmin7bVII
ExtendedBluesin6/8(Oneex.outofmany)
&IIImin7bIIImin7 IImin7V7IbIII bVIbII
&
K19
Intervallic/AdvancedHarmony-"style"...
Bitonalandpolytonalchordsonchosenchanges,modalormodula>ng......
&K20
Intervallic/Non-Tonal/Sound-Music
Musicbasedonatonality,abstractmusicandconcretemusicetc...
ù ; ù W
+ + + + + + + +
+ + + +
+ ™ V ™ V ™ V ™ V ™ V ™ V ™ + ™ V ™ V ™
+ ™ + ™ + ™ + ™ V ™ V ™ V ™ V ™
+ + + +
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C-(7) F(7) B¨ (^) E¨( %)
A-7(¨5) D7 G-(7) G7 (¨9)
C-(7) F(7) B¨ (^) E¨( %)
A-7(¨5) D7 G-(7) G7 (¨9)
34&
L1 Circleof5'swaltz(sequencingmo>f)
"PlayingChanges"-thatis:Playingthroughthechordsastheychangeaccordingtotheharmoniesinasongorinstrumentaltune,followingtemporaryorstayingmodula>ons:Stepwise(diatonic)playing•Horizontal/Ver>calPlaying•ChangingDirec>on/TurningPointTargetNotes/Goal•Sequencing•TransposingIdeas•CombiningScales/The"88-notescale"An>cipa>on/DelaywhenplayingonChordChanges•CombiningIdeas•Inside/Outside
GENERALLY: Touch, Tone, Sound, Dynamics
L.Ideasforprac>singimprovisa>ononthechordchangesinlemerchapterM
&
&varia>onofmo>f(almostmirroring)
&Mainscale/tonality:GaeolianI-II-bIII-IV-bV-bVI-VII-VIII
etc....
œ ™ œJ œb œ ˙ ™ œ ™ œbJ œ œ ˙b ™
œb ™ œJ œ œb ˙ ™ œb ™ œj œ œ ˙ ™
œ ™ œJ œb œ ˙ ™ œb ™ œJ œ œ ˙b ™
œ ™ œbJ œ œb ˙ ™ œ ™ œJ œb œ ˙ ™copyright©nielsthybo2016/2017/2018
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G A¨
B¨ A¨ G (¨9 #9)
F- E¨ D¨ C7 (¨9)
F- E¨ D¨ C7 (¨9)
44
44
&L2 Sevilla! (sequencingmo>f)
. . . .
&Mainscale/tonality:GflamencoI-bII-bIII-§III-IV-V-bVI-bVII-VIII
bbbb3
& bbbbL3 BuenesAires (sequencingmo>f)
& bbbbsameathirdlower(diatonic)
MOREEXAMPLESTOCOME......
Mainscale/tonality:Faeolian
nnnn
œ œb œ œ œb œ œ œ œ œb œ œb œb œ œ œb œ œ
œb œ œ œb œ œ œ œ œ œ œ œn œ œ œb œ ˙
œ ™ œJ œ œ œ ™ œj œ œ œ ™ œj œ œ œ ™ œn j ˙
œ ™ œj œ œ œ ™ œj œ œ œ ™ œj œ œ œ œb ˙
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&C I:Ionian
≈1/2step
II:Dorian
M.SCALESYLLABUScoveringthissurvey
MainCategoriesofScales/Modes:MajorScales•MinorScales•DominantScalesPentatonicScales•BluesScales•6-toneScales
SymmetricScales:Diminished/8-tone•WholeTone
OtherScaleTypes:BebopScaleTypes•GypsyScaleTypes
"Mother"Scales:Scales/ModesonthesevenstepsofTheChrisOanScale
Scales/ModesonthesevenstepsoftheMelodicMinorScale
(..scalesmayhavemorethanonename..)
Scales/ModesonthesevenstepsofTheChrisOanScale
&III:Phrygian
IV:Lydian
&V:Mixolydian VI:Aeolian
&VII:Locrian
&HarmonicMinor
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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œ œ œ œ œ œ œ œ
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&C I:MelodicMinor II:PhrygianMajor6th
Scales/ModesonthesevenstepsofTheMelodicMinorScale
&III:Lydian#5 IV:LydianDominant
&V:Mixolydianb6 VI:Locrian#2
&VII:Altered
&PentatonicMajor
PentatonicScales
&PentatonicMinor7 PentatonicMinor6
œ œ œb œ œ œ œ œ œ œb œ œ œ œ œ œ
œb œ œ œ œ œ œ œb œ œ œ œ œ œ œb œ
œ œ œ œ œ œb œ œ œ œ œ œ œb œ œ œ
œ œ œ œb œ œ œ œ
œ œ œ œ œ
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&MinorBluesPentatonic MinorBluesadd§3
BluesScale(...namedaccordingtostructure...)
&Majorpentatonicaddb3
&MajorBluesaddb3
Same-playedfromthesixth:MinorBluesPentatonicaddb5
&The2WholetoneScales
SymmetricScales
HexatonicScales
&SixtoneScale,type1 SixtoneScale,type2
&DiminishedScale(also:whole-half-whole-halfetc.)
OctatonicScales
&8-toneScale(also:8-tonedominantor:half-whole-half-wholeetc.)
œ œb œ œ œb œ œ œb œn œ œb œ
œ œb œn œ œ œ
œ œ œb œn œ œ œœ œ œ œb œn œ œ
œ œ œ œ# œ# œ# œb œb œn œn œn œ
œ œ# œn œ œb œn œn œb œn œ œ# œ
œ œ œb œ œb œb œn œ
œ œb œ# œ œ# œn œ œbcopyright©nielsthybo2016/2017/2018
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&BebopMajorScale
F
Bebop/Jazz-TypeScales
&BebopDominantScale(thebebopscale)
F
&BebopMelodicMinorScale,
F
&BebopMinor7Scale,
F&
Mixolydian b9b13(≈b2b6)
&Mixolydian b9b13(≈b2b6)
GypsyTypeScales
&HarmonicMajorb9
&Mixolydianb9#9b13TheGypsyScale(octatonic)
œ œ œ œ œ œ# œ œ œ
œ œ œ œ œ œ œb œn œ
œ œ œb œ œ œb œn œ œ
œ œ œb œ œ# œ œ œb œ
œ œb œ<n> œ œ œb œb œ
œ œb œ<n> œ œ œb œb œ
œ œb œ<n> œ œ œb œ<n> œ
œ œb œb œn œ œ œb œb œcopyright©nielsthybo2016/2017/2018
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&
•LINEPLAYING::Definetonalityofthechosensong/chordchanges,play“through”tonality,slow/fast,opBonallybymeansofthe"FixedRangeExercise",thatis:Definelowestandhighestnote(theRange),keepplayingandturnwheneveryoureachthelowest/highestnoteofyourchosenrange.
•PracBsechosenelementsonthechordchangesofasong/composiBonyouareworkingon.
•PracBsechosenelementbymeansofsequencing:chromaBc,wholetone,minor3rds,changingdirecBonup/downetc.....
•LISTENINGinwards≈transcribeyourself:WriteimprovisaBon
•VISUALIZEelements:intervals,chordtones,harmonies/chordsetc.Visualizewholepassages,“transcribe“visualizedpassages...
•LISTENtootherarBstsandTRANSCRIBEachosenimprovisaBonintempoorslower,intheoriginalkeyortransposed.
•ANALYZEachosensong,idenBfybasicelements.
•LearnachosenimprovisaBonand:TRANSPOSE•SING•PLAY•WRITEinchangingorder-notalways(butoren..)all4ways
•DEVELOPtheabilitytodisBnguishbetweenpracBsingandplaying.•Developthe"earsofthefingers"•Develop"InstantVisualizing"andtheabilitytolistensimultaneouslytothethreesources:yourownplaying•theothermusiciansplaying•themusicasawhole.
•PracBsesound-improvisaBonfromwhateversorce:Electronics,trafficsounds,streettalking,naturesounds,soundsfromanimals.......whatdoIknow...
N. SOMESUGGESTIONSFORPRACTISING
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&Shortlistofrelevantsongs,tunesetc.
Ack,Värmeland(Anonymous,lyricsAndersFryxell)SwedishFolkMusicByssanLull(Anonymous,adaptedbyEvertTaube)NordicTradiBon
SolveigsSang(EdwardGrieg)NorwegianComposer-/FolkMusic
Betragtmitsvagespind(CarkNielsen)Danishcomposer-/FolkMusicJeggikiMarken(CarkNielsen)Danishcomposer-/FolkMusic
ChorinhoPraEle(HermetoPascoal)Choro/Chorinho,BrasilNoRanchoFundo(AryBarroso)Choro,BrasilFrevodeOrfeu(Jobim)Frevo,Brasil
LaFiesta(ChickCorea)FlamengoStyle..,Spain
ScarbiroughFair(Anonymous)Irish/AmericanFolkMusic
TabúMargariteLecuono/S.K.RusselCuban"AfroCuba"VeinteAñosMaríaTeresaVeraBolero/BoleroCha,Cuba
ImperialAstorPiazollaTango,ArgenBna
∑
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