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Lesson 3 - CONDUCT DELLE PARTI

UTILIZZO DI ACCORDI DROP2 SU CADENZE II-V-I


I brani standards, come noto, sono molto spesso caratterizzati da sequenze II-V, V-I e II-V-I miscelate tra loro in contesti tonali, modali, ibridi...
In questo terzo appuntamento vi proporrò un approccio razionale alla modulazione tra un accordo e l'altro all'interno delle suddette cadenze, con l'obiettivo di codificare delle piccole "regole" il cui scopo sarà quello di velocizzare il nostro ragionamento nel passaggio tra i voicings.

Partiamo innanzitutto dalla considerazione per cui in una cadenza II-V-I maggiore e ii-v-i minore gli accordi sono a distanza costante di 2toni+1/2tono tra loro (per dirla in altri termini, le toniche degli accordi sono disposte "...per quarte"):


II Dm7 (2t+1/2t) - V G7 (2t+1/2t) - I Cmaj7
intervalli di 4ªgius

ii Dø (2t+1/2t) - v G+7 (2t+1/2t) - i Cm(∆)7
intervalli di 4ªgius


di conseguenza, per calcolare velocemente quale ruolo ricopre il grado di un accordo in relazione alla tonica dell'accordo che lo segue, sarà sufficiente sommare il numero 4 al grado stesso:


II Dm7 (G9sus4) - V G7 (Cmaj9sus4) - I Cmaj7

(D ) 1 + 4 = 5 di G7 / (G) 1 + 4 = 5 di Cmaj7

(F) b3 + 4 = b7 di G7 / (B) 3 + 4 = 7 di Cmaj7

(A) 5 + 4 = 9 di G7 / (D) 5 + 4 = 9 di Cmaj7

(C) b7 + 4 = 11 di G7 / (F) b7 + 4 = 11 di Cmaj7


Vedremo più tardi come questo semplice calcolo semplifichi di molto i nostri ragionamenti sulla chitarra.

Ovviamente lo stesso calcolo potrà essere applicato alle estensioni degli accordi:

2 + 4 = 6 (13)
4 + 4 = 8 (1 tonica)
6 + 4 = 10 (3 terza)

At this point we can encode some important simple rules

1) To obtain the passage of agreements from the IIm7 V7 cadence just a "move" the b7 of the first agreement 1/2tono in descending order.

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In this example, the resulting agreement also represents a typical replacement tonal harmonic function under the agreement which binds the respective V7 VIIm7b5 tonal VG7 / VIIBm7b5 = G9

As you can see the fingering is the voicing of the half diminished built on their b3.

Continuing, we can therefore say that starting from an agreement IIm7 the movement of the b7 1/2tono back together with the immobility of b3 (corresponding to b7 of the V7) determines the tritone of the ruling on the 7th.

Once again we can encode the new simple rules that, combined with those already set out above, will allow us to obtain agreements 7 ª dominant "not affected", "semi-altered" and "altered"

2) The movement downward and upward the tonic of an agreement IIm7 determines respectively the fourth (11 / # 11) and sixth (b13/13) Agreement on V7.

3) The upward and downward movement of the 5th Gius an agreement IIm7 respectively determines the b9 and # 9 of the V7 relative.

should be clear by now the enormous potential of this system, with appropriate combinations, will allow us to achieve a variety of voicings.

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It 'obvious that any solution can be applied for by the remaining face of the M7. The No.2

I deliberately recreated three different solutions, each of which calls for a modal scale or scale symmetric definite.

2a) In the first solution to the simultaneous presence of the 2nd mag (9) and the 6th min (b13 / # 5) combined with the chopped result in an agreement "whole tone" without tonic.

agreement V9 # 5 or V9b13
scale whole-tone (scale symmetric)
1 - 9 - 3 - # 11 - # 5 (b13) - b7

2b) In the second solution, the simultaneous presence of the 2nd min (b9) and the 6th min (b13 / # 5) combined with the chopped result in an agreement "superlocria" without tonic.

agreement Vb9 / # 5 or Vb9/b13
superlocria Scala (La Scala VIIgrado melodic minor Smm)
1 - b9 - # 9 - 3 - # 11 - # 5 (b13) - b7

2c) In the third solution simultaneous presence of the 2 nd aum (# 9) and the 6th mag (13) combined with the chopped results in an agreement "fell dominant "without tonic.

agreement V # 9 / 13
dominant diminished scale (Scale symmetric octofonica 1/2tono-1tono)
1 - b9 - # 9 - 3 - # 11 - 5 - 13 - b7

suppose At this point the principle is clear, but here I offer some viable solutions for Cadenze II-VI and II-VI more children.

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Some more tips: the assumption that the voices of the agreements may move for "parallel motion" and "contrary motion" for good "Conduct of the parties is advisable to move the entries for the shortest distance possible (1/2tono, maximum 1ton) and still maintain the common notes between the chords (harmonic bonds).

Now try creating your own "led" by writing and codifying those that you like and use them later in the same standards that you prefer.

In the next lesson I will propose the full chorus accompanied by a standard voicings derived from the application of these principles.

Greetings to all and good "comping" ...

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Whats A Good Sweet 16 Invitation

Lezione 2 - VOICINGS E ABBELLIMENTI

DROP2 EXTENSIONS WITH


Starting from the consideration that, generally, an agreement within the 3grado and 7grado be retained for the purpose of recognition of the family come from, we can say that the remaining 1grado (tonic) and 5grado may be omitted by exploiting the movement to the extensions, like this:

... by upward movement of the tonic we can get the second degree (b9 / 9 / # 9)

... from downward movement / upward 5grado we can obtain, respectively, the fourth (11 / # 11) and sixth (b13/13)

Obviously the choice of the extensions will in turn influenced by the modal scale (or Mode) of membership agreement.

The following diagrams are created from the three extensions of the Lydian mode 9 / 11 / 13 to # maj7 Drop2 on the agreement. For each of the four positions of a family with five diagrams, the first three of which involve the use of each voltage, while in the remaining two are coupled 2 extensions at a time.
Since the fourth and sixth arise both from the movement of the fifth, by this method can never occur simultaneously within the agreement.

I recommend that you store these fingerings according to the position of the tonic of reference (circle dot). Once assimilated all the diagrams, try to "improvise" a comping on a groove along the bottom of the circle of fifths.

All this work will be repeated for the remaining families related to m7 Drop2, and dom7 m7b5. So, in summary we have:

... 4 families of agreements x 4 x 5 positions each diagram with extensions for a total of 80 voicings to store.

Do not worry! ... You'll see that many of these remain the same under the tonal functions. However you yourself, at the end of this long study, to choose voicings that you like. The important thing is having to set up a fund of sufficient arrangements for deal with any fluency jazz standars you are going to play.

In this regard in the next lesson we will begin to see some practical applications on II-VI cadences major and minor II-VI, on turnarounds and entire chorus of some standars that will bring to your attention.

I hope to be helpful! ... The next episode

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