ELEMENTS OF IMPROVISATION FOR CLASSICAL MUSICIANS LINE ... · elements of improvisation for...

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

copyright©nielsthybo2016/2017/2018

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


2

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 ˙#


3

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 ˙


4

&

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

5

&

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#


6

&

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 ™


7

&

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

8

68

68

&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

9

44

44

&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,


10

&C20 Addintervaltoa4-notechord,

broken/asarpeggios,


&C21 Changingdirec>on,”pickup"triads

”Tonics”asUpper-Structures,

&C22 Inversions/Permuta>ons,Indside/Outside


11

&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 œcopyright©nielsthybo2016/2017/2018

12

&Two-partplaying/"False"two-partplaying

TryvariousChanges(SeelemerKforExamples)

Examples:

E."POLYFONICPLAYING";"


&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......


13

&tryvariouschanges..(XIIIa./XIIIb.)

Examples:


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


14

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


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 ™ + ™


15

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


Imin-IVmin-Vmin-Imin

C-

+ + + +

+ + + +

+ + + +

+ + + +

+ + + +copyright©nielsthybo2016/2017/2018

16

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


Imin-IIø-V7-Imin6

nnn

&K13

FolkSongs,WienerClassicStyle

I-V/3rd-I-I/3rd-IV-V-I-V

&K14


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)

+ + + +

+ + + +

+ + + + + + + +

+ + + + + + + +

+ + + + + + + + + +


17

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 ™

+ + + +


18

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

19

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 ˙


20

&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 œb œ œ œb œ œcopyright©nielsthybo2016/2017/2018

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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

œ œb œ œ œb œ œb œ œ œcopyright©nielsthybo2016/2017/2018

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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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