Smithfields Bbq Nutrition Facts

Lesson 9 - MOTORCYCLE EXTERIOR

Moto outer
Alberto Tebaldi
Oil and acrylic you canvas 50x70 cm (2007)

Click image to enlarge


A distance of 7 years after my first publication, artistic research and teaching led me to further the study of parallel 'Harmony Music (jazz in particular) and the Theory of Color and, consequently, to develop a long series of graphics and paintings on the theme of the motion of tension and relaxation, studies culminated in the drafting of the second instructional book, fresh from the publication ...

Alberto Tebaldi
METHODS musical language (2001)
theories on sound, color and shape applied harmony and improvisation
Music Publisher SYMPHONIC JAZZ (New Carisch) + accompanying CD

Alberto Tebaldi
manual creativity of jazz guitar (2007) Theories on
harmonious vision of John Coltrane
NEW WAYS TO THE UNDERSTANDING THE THOUGHT OF MUSIC ONE OF THE MOST 'ISSUE AND INNOVATIVE CHARACTER OF THE TWENTIETH CENTURY
Edition NEW ARGOS

CADENCE IIm7 SUSPENDED - V7

"... The fundamental principle of music, ancient and modern , revolves around the concept of tension and relaxation (or resolution, relaxation), the only reason why the music regenerates itself through the movement, namely the transition between these two conditions: voltage, which is equivalent to a state of motion, and relaxing, which is equivalent to a condition of state (static condition). Personally I prefer to use the definition of inward movement to the concept of relaxation and, for consistency, motorcycle outside the concept of tension ... "

(Excerpts from the book by Alberto Tebaldi METHODS OF LANGUAGE OF MUSIC, 2001 SYMPHONIC JAZZ - New Carisch)

What I intend to propose in this lesson is a further elaboration on the interaction between universes perceptual / sensory, in this case color and music.

The table (below) highlights the color characteristics of typical II-VI cadence increased (generated by the major key).

IIm7
IIm7 The agreement, which is inseparable from the geometric shape of the triangle and the color yellow (see previous lessons) was created by white light (from the point of view 'subtractive'), or better to say it with JW Goethe's words in his book of the early 800 THE THEORY OF COLORS by a turbidity level of the 'white'.

V7 V7
The agreement, linked to the geometric shape of the square and the color red represents the most Rate of tension. This agreement is closely related to effect of 'simultaneity' (see visual perception), color green color represents in fact complementary. It 's interesting to remember that the green color identifies the agreement v7sus4 (Phrygian) extrapolated from the relative minor key (NMS), according to Cadence, part II-VI less on the original (ii m7b5 - v7sus4 - the m7).

Imaj7
Imaj7 The agreement, linked to the geometry of the circle and the color blue, or black darkness was born (in this case from the point of view 'subtractive'), or rather from a level turbidity of the 'black'.

«...E' evidente come il principio di Tensione e Distensione si concluda nell'equilibrio delle forze... è importante notare come i tre colori, in ordine di Cadenza, tendono inequivocabilmente al colore verde... i colori giallo e blu, posti agli estremi della Cadenza, richiamano (per effetto di mescolanza) il colore verde che, quindi, ne rappresenta la mediazione... Il colore verde, non a caso, viene da sempre associato alla Natura, alla fecondità, quindi alla vita. Il bianco e il nero, dal canto loro, regolano il ciclo vitale degli elementi...»

(Estratti dal libro di Alberto Tebaldi METODOLOGIE DI LINGUAGGIO MUSICALE, 2001 SINFONICA JAZZ – Nuova Carisch)

In the painting I wanted to focus on the tension generated by V7 (ideally preceded by IIm7), highlighting some areas 'color' in order to help with the reading of the picture and understand how each agreement will lead itself a natural inclination to the cadence of the remaining agreements in question, this is because there is no tension in the movement unless the resolution, as if there is no relaxation in the direction of a new tension.

I am increasingly convinced that playing on a Cadenza II-VI, both from the point of view of harmonic improvisation, involving knowledge and awareness of the internal equilibrium condition our perception.

my research is meant to be a small contribution to the structuring and codification of that 'Science Art' and claimed 'deified' for the first time by Wassily Kandinsky in the last century.

have any questions about the topics covered please contact me at my email address
info@albertotebaldi.com

Thank you for your attention ...
Alberto Tebaldi

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Cost Of Teeth Whitening In Morocco

New Release instructional book




Editions NEW ARGOS

announces that the book is educational

Alberto Tebaldi
MANUAL Creative JAZZ GUITAR
Theories on the vision of John Coltrane's harmonic
NEW WAYS TO UNDERSTAND THE THOUGHT OF MUSIC IN ONE OF THE MOST 'ISSUE AND INNOVATIVE CHARACTER OF THE TWENTIETH CENTURY

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Price € 10.00 to 64 color pages (size 12.5 x 18 cm)
www.jazzitalia.net / classes / albertotebaldi

For information on visit
www.albertotebaldi. com

New Argos is a trademark of Dat Donat DICAT
Ltd. First published in June 2007
© 2007 Alberto Tebaldi © 2007 Donat DICAT
Dat Ltd

Photo by Peggy Picot ©
http://peggypicot.aminus3.com


Introduction
Alberto Tebaldi

improvise on the harmonic changes of John Coltrane's Giant Steps was for the metaphor of inner control and the search of that "self-consciousness' in J. Krishnamurti and preach the revival, and whose writings he used the same Coltrane to elevate one's soul.
relegated for decades to a mere technical challenge for students and established jazz musicians, playing this song today, to 46 years after its creation, is the unconscious attempt of each musician to boot to the threshold of the spiritual ascent that Coltrane, with and through his music, he traveled to the end of his life.


Presentation of Luca Chiaraluce
Poly-jazz

who attended the musical phenomenon, more or less professionally, knows that the mathematical and geometrical component contained in it is primary. Never before, however, I had come across a job like this, so it carries the reader to the original interpretation of the deeper logic that compose it. The author
wanted in its search path the ancient origin of the elements he uses, in discovering their hinges magic from the dawn accompany man in all its forms.
His innovative research tends to create links between the perceptual capacities of man, by the auditory than visual, in a joint sense of sounds, colors and geometric figures that tend to broaden the vision and rationale of the musician, researcher, he
not satisfied with the usual visions distributed to every corner.
The author creates mental places where everything is 'naturally' in his place, shows that what is seemingly random but controlled by a higher order and detectable.
A search that starts from a disputed area and abused to get stubborn with ingenuity to prove the existence of a hidden depth in which they reveal the motivations of each one, a path in many ways within, who awakens in the reader a taste of the infantile sense of discovery, the desire to believe again, to still be amazed.
This book intelligently re-contextualizes the theory and the practice applied to language that too many players now use only in a mechanical way, gives their own life experience so often experienced jazz typewriter.
I admire the author's research, a man I know for some time and have built their artistic and life experiences beyond the constraints that society wants to impose, a musician and a teacher, always attentive to the energies that flow around. To him my congratulations for a job
so original, complex and at the same time exposed in a clear and comprehensive.


Luca Chiaraluce
Rome, September 20, 2006


Presentation of Augustus Colaci
Pianist

In Table IV dell'Amphiteatrum Sapientiae Aeternae Solius Vera Khunrath is depicted the image of the lab-oratory where the alchemist retires. On one side of the pavilion with prayer, kneeling, a praying figure. Al centro, sul tavolo tra altri oggetti di peso e scrittura, si notano tre strumenti musicali. Un liuto, una viola da braccio e un’altro cordofono. Dall’altra parte tutto il corredo degli alambicchi alchemici. In testi come questo, di alta natura simbolica, nulla è casuale. Cosa ci indica? Cosa ha a che fare la musica con il percorso alchemico? Ogni risposta, ogni congettura è affidata alla ricerca, e giungere a una soluzione definitiva è forse impossibile.

Clicca sull'immagine per ingrandire

È prezioso questo lavoro. Prezioso, stimolante e anche coraggioso. Coraggio di esporsi e di esporci un’ipotesi interpretativa. Liberi to follow and even expand it. Free not to follow it. But the validity of this text is not confined here. I want to emphasize the teaching aid offered to students. And this part is not stingy with tips.

Iannis Xenakis, Johann Sebastian Bach, and others could be cited works by analyzing and remembering where the number-sound relationship is direct. Whether it be a purely logical or mystical language of mathematics.

a quiet and sometimes reserved manner, the symbols in the game, I like to bring the author to the ninth Arcana of the Tarot. With his hood and cloak to conceal and protect his insights.
stick and lantern to illuminate the path and walking safer. And the need di percorrere questo cammino: il suo cammino.


Augusto Colaci
Roma, 26 settembre 2006

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Tutti i diritti sono riservati

Baby Orajel Nighttime Can It Be Used In The Day

Lesson 8 - "SUMMER" (Bruno Martino)

«Come esploratori che si addentrano in paesi nuovi e sconosciuti, noi facciamo scoperte nel "mondo quotidiano", e il nostro ambiente, altrimenti muto, comincia a parlare in un linguaggio sempre più chiaro. Così i segni morti diventano simboli viventi, e ciò che è morto diventa vivo»
Wassily Kandinsky - Punto Linea Area (Adhelphi Editions)

In this third meeting devoted to "Summer" by Bruno Martino I would like to offer you the graphical view of this issue, relating to the sect of the song. I will therefore
the subject line and how it can reveal the internal equilibrium with the help of the geometrical point .

These calculations are inspired by studies carried out by me on Wassily Kandinsky, one of the greatest painters of the avant-garde art of the '900, and studies on color-formal balances related to ' jazz harmony, issues that I am in teaching for several years now.


Analysis of the theme (section)

"... the content of a painting is not in external forms, but in the strength-stress living in these forms"
Wassily Kandinsky - Point Line Area (Adhelphi Editions)

With this in mind, we serve the geometric point forces to bring out the inner- tensions that govern our theme music. In other words, what I am going to do is to transpose musical notation in graphic language through more primitive geometric element, recontextualizing musical values \u200b\u200bof the notes in the space , remains unchanged weights ed il movimento .


Tema originale

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Rielaborazione grafica 1 (nero su fondo bianco)

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Mettendo a confronto la partitura con l'elaborazione grafica si capisce come questa trasposizione ci permetta di individuare con estrema chiarezza i punti focali del tema, ossia i punti cardine sui quali la melodia "plana" scaricando le sue tensioni interne.

Possiamo inoltre cogliere il tracciato del movimento dei suoni contenuti in ciascuna delle tre righe del tema, ossia il movimento che la linea melodica intraprende ora verso la "luce", ora verso l' "oscurità!

Partendo dalla convinzione che Kandinsky aveva riguardo l'esigenza di una "Scienza dell'Arte" che potesse essere di supporto alla lettura e alla composizione di un'opera grafica o pittorica, con l'ausilio del grafico "Le 3 Stelle diatoniche" da me elaborato, ho applicato ad ogni nota musicale il colore corrispondente con l'obiettivo di rivelare gli equilibri più nascosti di questa linea tematica. (Ci I wish to state that this process can be applied to any composition!).

Note: For what concerns the association between the altered notes 5 and their respective colors, you can refer to "Crystal harmonic published in my book HANDBOOK OF CREATIVE JAZZ GUITAR - Theories about the harmonious vision of John Coltrane that will soon be available for purchase!)

In that regard, I anticipate that I will publish soon a detailed article titled "Double color enharmonic" within which treat the matching color-sound related to altered 5 notes.


graphics Revision 2 (color on a black background)

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Conclusions There is still much to say about this topic! For now I leave you time to digest everything that has been addressed in three lectures devoted to hitherto published "Summer".

About this lesson, I will forward to our next meeting even more of these nucleus forces that are the basis of 'natural harmony of things, knowledge and awareness of where the "read" In my opinion, is of primary importance for any musician and for anyone involved in art.

I would like to express my thanks to all those who follow my articles and want to show their interest in the letters that I receive.

invite everyone to contact me at my email: info@albertotebaldi.com for any clarification and discussion on the topics covered.

Good luck, see you soon!

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Home Built Pontoon Trailer

Lesson 7 - "Summer" by Bruno Martino

Here we come to the second round with a beautiful song by Bruno Martino "Summer".
In our first meeting we dealt with the harmonic analysis of section A, we are now ready to tackle some useful solutions to improvisation melodic.

IMPROVISATION ON SEZ. A

Let's see some practical solutions for matching scales / agreements to improvise.

For reasons of space I can not say much about the construction of tetrads (chord tones: the tonic - tert - fifth to seventh) on each scale, so it will be your task, from now on, extrapolate from the examples I have offered all the material necessary.

SCALE MATCHING AGREEMENTS

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• Bm (maj) 7

As we have seen in the analysis of harmonic song of the last lesson, this agreement represents the first instance (i) the key of B minor on (SMN)

B minor (relative to the key of D major)

The modal scales of belonging is thus the wind that can be used as long as you put some care not to emphasize too much the 6th min (b13) contained in its procedure.

Alternatively you can use the B Dorian mode (SDM II) and Mode B ipoionico (the SMM), both of which contain the 6 th May (13), which in this context, it makes a sound very unique and very modern which I invite you to experience not only in the phrasing, but also in the harmonization agreement. The way
ipoionico also also contemplates the use of the 7 th May, also a very special degree that is worth to experiment with harmony.

suggesting you some voicings that contain the "tensions"

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• B7 (alt)

This agreement represents a so-called "dominant artificial" that an agreement will be added arbitrarily to create tension on the agreement that follows (in this case on Em7).

will be so impaired that you can use any scale (preferably) contains within it the 2nd min (b9), for example, the Phrygian dominant mode B (v Sma) and mode B superlocria (vii Smm).

• Em7

E Dorian (II SDM)
ipoionico E (i Smm)

• F # 7 / # 5

tonally speaking, this agreement is the third degree (F # m7 Phrygian) tone D v major that changes in degree F # 7 # 5 (or B13) within the harmonic minor key.

the scales used are varied, for consistency I propose to you yet F # Phrygian dominant modes (v Sma) and F # superlocria (vii Smm).

Comments

At this point we have excellent material to start to improvise on the first 7 bars of section A of the song go ahead ...



• A7

solutions to this Agreement may be "infinite "... I propose two simple steps to be mixed together to obtain a color distinctly "bluesy."

A mixolydian (SDM V) + A blues scale (pentatonic minor + 5 ª dim)

• Am7 / D

A Dorian (II SDM)

... but if it means the agreement as D7

Ab superlocria (vii Smm) - D mixolydian / 4 ª aum (iv Smm)

• A °

D decreased dominant

• Gmaj7

G ion (I SDM)

• GM6

C mixolydian (V SDM)

• C # m11 (b5)

C # Dorian (II SDM)
locro C # / 6th mag (ii Sma) or F # phrygian dominant (which anticipates the next agreement).



Conclusions We have thus concluded our analysis of section A of "Summer." As you may have realized by now, you could talk to a hundred other lessons, finding as many solutions, but the combinations of steps that I have already proposed are sufficient to work the years.
My advice is to isolate the chords of the song in pedal cadence or even to practice improvising on the individual stairs before facing the industry standard in its entirety. (This working method should be applied whenever you deal with a new song!).

I hope that this lesson will help you and invite you to view the video examples that are soon to publish in this lesson about some of my improvisations on "Summer".

Greetings, see you soon!

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Powered Thunderform Install Guide

Article 1 - PHILIP CATHERINE

PHILIP CATHERINE Sunset (Paris)
Philip Catherine - guitar
Emmanuel BEX - Hammond Organ
Aldo Romano - batteries



Photo by Peggy Picot ©
http://peggypicot.aminus3.com

This article was inspired by a quote from Mick Goodrick which reads something like this ... "the Jazz started to play really after 50 years of age. "



Saturday, April 7 ... I'm at Sunset in Paris (one of the jazz places among the best known) ... ... first row narrow red chairs ... great voices. .. next to me ... my girl behind us and to the right of the small stage at least two generations of musicians, fans, artists, scholars, dreamers, curious ... waiting ... at 21.15 ... 21.45 .. .22.00 ... Dressed in a white premeditated Philip embraces his old Gibson and peeling ... look at the various Boss pedals and a touch-up tuning ... ... nod in agreement with Aldo ... then Emmanuel ... and go!

What is striking now is the playfulness with which the three 'kids' cross the tracks ... in swing, fusion / rock and who knows what Philip plays with his pedals, perhaps attracted first by their color ... now a foot on the delay, time on the chorus, then overdrive ... and an unlikely path to the amazing compositions and an impressive first Aldo Bex and the voice of his Hammond, then.

Philip gets up and sits continuously, shake, sway to the tune ... look at his scores as he had never seen them before then ... forget a few chords of a strange "My Foolish Heart" that there little rears in a single distorted blues / pentatonic.

Another song, two, three ... jump rope, and with it ... then the voicings and Aldo Bex "Bopp", without Truce ... eyes closed ... a thousand ticks invade their faces ... Philip assembled his new rope ... and the three "kids" find themselves once again in the same park, each ride on their own!

Alberto Tebaldi (April 9, 2007)

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2010 Withdrawal From Xanax

Lesson 6 - "Summer" by Bruno Martino

Date: March 27, 2007 ( you suggest a song ... message Massimo Ravasi)

Hello Alberto,
I have seen and heard your video, compliments no doubt you are very good!
Seize the opportunity to show you a standard to analyze and play hoping to learn more and more 'serious professionals, and available to you. The song and
'"SUMMER" by Bruno Martino.
A track that already I loved 'when he sang the author and I have happily discovered to have become a jazz standard.
I like to play (I'm talking about improvisation) and maybe with your help I will succeed '(note that I am a self-taught 48 years in love with the guitar and jazz, but often fails to match the two things ... ...).
I hope this song will attract your attention as I think it merits.

Thanks in advance
Massimo Ravasi

Hello Massimo,
eccoci qui con il primo appuntamento dedicato al brano da te richiesto.
Mi auguro che questa lezione possa essere utile a te e a chiunque altro abbia l'interesse di leggerla.

Grazie a te!
Alberto Tebaldi

"ESTATE" di Bruno Martino

Questo brano viene suonato spesso in diverse tonalità... per l'analisi armonica, argomento di questa lezione, ho scelto la tonalità di B minore (relativa alla tonalità di D maggiore) e alcuni riferimenti alla versione suonata da Joao Gilberto all'interno della quale il musicista adotta alcune semplici ma interessanti sostituzioni di accordi.

Così come nella gran parte degli standards jazz, anche in questo brano si fa un largo II-VI cadences use of major and minor II-VI, although sometimes hidden behind deceptive agreements, either because of enharmonic writing, either because of equivalence of real and harmonic substitutions more or less complex!

The analysis will therefore propose a second important function ... which is to reveal some "camouflage" of agreements that can be reused in other contexts through the reverse process, for example, to "disguise" the cadence set within your own composition in order to make them less obvious.

Ps. The chorus will be highlighted as points of tension and relaxation of the agreements according to the colors on the chart "The 3 Stars diatonic" lesson that can be found in "color and music - I 7 AGREEMENTS of the major key" published in this very blog.

Click image to enlarge























HARMONIC ANALYSIS
Section A


The song is characterized by a typical AABA.

Section A of the song spread over 14 bars (bars) and uses, in line Overall, 2 shades:

• B minor (relative to the key of D major)> bars 1 / 8 and 13/14
• G more> bars 9 / 12

In 4th and 5th (and 6th) measure, we find the first period will lower

v F # 7 / # 5 - the Bm9

In the 7 th and 8 th stop find a cadence II-V increased

II Em7 - V A7b9/13

between 8th and 9th beat we have the first change of tone that B minor / D major to G major changes in perfect cadence extended II-VI-IV major culminating in the 12th beat.

II Am7 - D7 V (b9/13) (A ° J. Gilberto) - Gmaj7 I - IV Cmaj7 (# 11) (GM6 J. Gilberto)

As you can see the version of Joao Gilberto and the Vgrado IVgrado cadence have been replacements, these agreements may, at first, detecting the recognition of cadences typical of that part of these fans, even going complicate the interpretation at the time of combining scales and arpeggios for improvisation. The

A ° (down) used by J. Gilberto is nothing but a typical replacement of the 7th harmonic of the dominant place 1/2tono below, in this case, then the agreement Ab7 (b9), which transported the third child becomes D7 (b9), Vgrado of Gmaj7, agreement on which the cadence resolves.

Ab7> 3 ª less> B7> 3 ª minor> D7> 3 ª minor> F7> 3 ª minor> Ab7 ... etc..

A ° = 1A - B3C - b5Eb - bb7F # ... these same footnotes to become D7: 5A

- b7C - b9Eb - 3F # = D7b9 ... no tonic!

Tensions (b9/13) specified in the signing of the agreement also suggests the use of symmetric diminished scale dominant (semitone-tone) to which our D7 ("disguised" A °) belongs.

Scale decreased dominant 1D D7

b9Eb 3Gb 9F # 5A # 13B 11Ab b7C

This scale is also known as Octofonica made up of 8 notes. More generally

we may consider the D7 to improvise and use a scale altered altered any such superlocria La Scala, or the whole-tone scale, etc ... it all depends on how you played the D7 (in these cases is important to talk with their bass player and find a common solution, unless you deliberately want to "impose" on the harmony scale altered more or less dissonant).

The second place taken by J. Gilberto is definitely less obvious than the first. The GM6 instead of Cmaj7 (# 11) leads to differences in effects, we see such as: Cmaj7 (# 11) represents the tonality of G major IVgrado and therefore the Lydian mode

1C 9D 3E # 11F # 5G 13A 7B

Dalla sigla dell'accordo Gm6 si può dedurre che questo possa rappresentare solamente 3 scale modali, poiché sono le uniche scale minori che contengono la 6ª naturale (13)

- modo dorico (IIgrado della tonalità di F maggiore)
- modo dorico/#11 o scala jazz (IVgrado della tonalità di D minore armonica)
- modo ipoionico (Igrado della tonalità di G minore melodica)

...ma se si va nel dettaglio delle tre scale rapportandone i gradi all'accordo Cmaj7(#11), ossia all'accordo sostituito, possiamo vedere che nelle prime due ipotesi di scale la nota F è in contrasto con il F# del modo lidio al quale il Cmaj7(#11) appartiene... in tutti e tre i casi Furthermore, the note Bb is contrary to the nature of B, while in the latter case even the note C # joins the other two aforementioned inconsistencies.

1G 9A b3Bb 11C 13E 5D b7F

1G 9A b3Bb # 11C # 5D 13E b7F

1G 9A b3Bb 11C 13E 5D 7F #

Therefore, none of the three scales can be considered suitable for a replacement, rather a "taxation "or" Superimposition, "but this is not the case.
It 'clear that the three solutions and the third is the least stressful and therefore more "suitable" (reasoning by exclusion) but would in any case a poor choice. This means that the GM6 in this case is not a replacement of the harmonic Cmaj7 (# 11), but a real exchange agreement, which probably comes from what is called harmony "change of family", referring to the preceding, therefore, in this case, the change from a Gmaj7 GM6.

Warning! ... All this reasoning on the role of research covering the GM6 I actually wanted to put it even aware of its inaccuracy, to try to understand what are the mechanisms of analysis "for exclusion ..." which must sometimes be taken if you want to understand the precise nature of the arrangements of a song.

The most likely answer is that GM6 is simply a 7/b9 F # / # 5 anticipates that the F # 7 / # 5 contained in every subsequent minor ii-v ii C # m7 (b5) - v F # 7.
For the more advanced the GM6 can be seen as a C7 / 9 no tonic and the 5th Gius (Note G) on bass, namely the replacement of the tritone F # 7.

In conclusion, as you can see in the 2nd and the 6th stop you can put a B7 (alt) that acts as the artificial v7 Em7 below.
(This' addition will be possible, as we shall see shortly, even melodically).

For the moment it's all in the next lesson we will begin to match some scales for improvisation (at first simple, then consider more complex solutions and "dissonant" ) and, then analyzes the section B of this beautiful standard.

Thank you for your attention! See you soon ...

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Cystic Fibrosis Blue Pill

Lesson 5 - "I LOVE YOU" (Cole Porter)

IMPROVISATION

Here we are at our second show with "I Love You" ... I remind you that the first appointment was published in the educational section of the site at the following address Jazzitalia http://www.jazzitalia.net/lezioni/albertotebaldi/at_lezione1.asp

In this lesson we will analyze some practical solutions regarding the matching "scale / chord, which will be useful to improvise solutions on the basis that characterizes this hybrid ii-v/VI track.
of the proposed solutions can watch and listen to three examples in the following video.




In Video propose a phrase "inside" and more melodic scales "consonant" with respect to the three agreements and a lick back "outside" the most stressful, especially in the "launch" of the sentences . I also wanted to include an example of how in the course of improvisation is possible to "include" the theme of the song mixed in the phrasing.

As for the colors associated with the agreements, I invite you to refer to the chart "The 3 Stars diatonic" is mentioned in Lesson 4 - "color and music." To this

respect, we see what aspect of the song takes on the section A in virtue of logical "color" to me elaborate. Those of you who closely followed my previous lessons should have no difficulty in identifying the points of "tension" of the piece and, therefore, points to a "resolution".
























Cadence ii-v/VI minor / major

So the first cadence of the song is a Cadence ii-v/VI hybrid, and is one on which I will discuss in this lesson, for what about the rest of the song you will not be difficult to draw due consideration.

Cadence hybrid ii GO - v / V C7 (alt) - The Fmaj7

... or a rate which sounds "oscillates" between the lowest and the highest.


Agreement Go (half diminished)

We see some possible steps that can be used for improvisation on the Agreement Go (half diminished).

a solution
GO> locro a place on the seventh degree of the diatonic scale Major (SDM).

way Locri:
degrees of 1 - b3 - b5 - b7 b9
extensions - 11 - b13

Staying on the field tone, a harmonic point of view it is possible to equate the two agreed to go "harmonic equivalence" having, simultaneously, the possibility of using their modal scale (though with some little trick!) also in terms of melody. Let's see what these equivalences ...

solution 2 ton
VII GO> ton Bbm6 II - Dorian mode

solution 3
VII ton GO> ton Dbmaj7 IV # 11 (No. 5) - Lydian mode

I remind you that for the moment, Go as we are considering the VII degree of tonality of Ab major (or if you want, as Grade II on the Hue F minor).

When you apply the "harmonic equivalence 'is crucial to focus on those degrees, which inevitably creates dissonance with the rank of major to which they are overlapping, we do an example: going to use so you will need to Db lydian improvisation emphasize the 4th aum (# 11) rather than the 5th Gius (degree of tetrad) for the latter, this type of overlapping harmonic coincides with the 2nd min (b9) to the Go half diminished within which, as noted is a degree not properly tuned.

That said, however, I would like to point out that the theory does not always go hand in hand with practice and that the transcripts of "solos" of the greatest musicians in the history of Jazz (Chet Baker, to name a name!), we often offer the "inconsistencies" harmonic and melodic music theoretical findings are not always acceptable, but at the same time underlines once again the enormous importance that often the "how" rather than playing the "what" is played.

solution 4
GO> superlocria mode A, A7 # 5 VII degree of melodic minor scale (SMM).
This solution implies the use of a G locro / May 2 nd place on the VI degree of the melodic minor scale of Bb.

way locro / 2 nd May:
degrees of 1 - b3 - b5 - b7
extensions 9 - 11 - b13


Agreement V C7 (alt)

Let's now a couple of solutions for melodic improvising on the second agreement C7 (alt) of our cadence.

general solutions
Since every hybrid on the agreement resolves Fmaj7 I, on the agreement v / V C7 (alt) may be used without special arrangements, all the modal scales and symmetrical scales whose use is typical of the Agreements 7-th dominant, therefore, whether natural, semi-altered or changed.

instead I propose two solutions to my point of view very interesting for the reasons I will explain shortly:

a solution
C7> Bb Lydian mode, Bbmaj7#11 IV grado della Scala Diatonica Maggiore (SDM).
Questa soluzione sottintende l'utilizzo del modo C misolidio, V grado della Scala Diatonica Maggiore di F.

modo misolidio
gradi dell'accordo 1 - 3 - 5 - b7
estensioni 9 - 11 - 13

Consigli: nell'improvvisazione sarà bene enfatizzare la 4ªaum (#11) del modo lidio piuttosto che la 5ªgius.

soluzione 2
C7 > modo Db ipoionico, Dbm(∆)7 I grado della Scala minore melodica (Smm).
Questa soluzione sottintende l'utilizzo del modo C superlocrio, VII grado della Scala minore melodica di Db.

modo superlocrio
gradi dell'accordo 1 - 3 - #5 - b7
estensioni b9 - #9 - #11

soluzioni simmetriche 1-2
Se osservate bene tra le soluzioni fin qui analizzate sull'accordo ii Gø e v/V C7(alt), è possibile creare un paio di combinazioni interessanti:

































Utilizzo di un'unica Scala sul ii-v/V minore/maggiore

soluzione 1
Gø > modo C frigio dominante o misolidio b9/b13, C7 V grado della Scala minore armonica (Sma).
Questa soluzione sottintende l'utilizzo del modo G locrio/6ªmag posto sul II grado della Scala minore armonica di F.

modo locrio/6ªmag
gradi dell'accordo 1 - b3 - b5 - b7
estensioni b9 - 11 - 13

Il motivo per cui questa soluzione viene pensata direttamente come C frigio dominante anche sull'accordo semidiminuito, sta proprio nel fatto che questo modo può essere utilizzato anche sul secondo accordo della cadenza (C7); in realtà di quest'ultimo ne rappresenta una anticipazione, tant'è che la presenza della 6ªmag sull'accordo Gø comporta per l'appunto una anticipazione della tensione creata dal tritono (3/b7) dell'accordo di 7ªdominante.

soluzione 2 (out)
Gø > scala simmetrica C diminuita dominante (1/2tono-1tono).

scala diminuita dominante posta in relazione all'accordo Gø
gradi dell'accordo 1 - b3 - b5 - (7 out)
estensioni 9 - 11 - b13 - 13

scala diminuita dominante posta in relazione all'accordo C7(alt)
gradi dell'accordo 1 - 3 - 5 - b7
estensioni b9 - #9 - #11 - 13

A conferma delle considerazioni precedentemente esposte sull'importanza che spesso ha il "come" si suona piuttosto del "cosa" si suona, questa soluzione nonostante contenga la 7ªmag, sonorità normalmente "Out" for the semi-diminished chord is used very often on ii-V sequences from a variety of musicians such as children, just to name a few examples remaining in areas guitar, Joe Diorio or Mike Stern.


Agreement Fmaj7 I

In conclusion, we see a couple of solutions to be applied on the agreement I Fmaj7.

a solution
Fmaj7> F ion located on a first degree of the diatonic scale Major (SDM).

ionically
grades of 1 to 3 - 5 - 7
extensions 9 - 11 - 13

solution 2
Fmaj7> D Doric order placed on the second degree of the diatonic scale Major (SDM) in the key of C major.
This solution implies the use of the F Lydian mode located on the fourth degree of the diatonic scale Major (SDM) in the key of C major.

Lydian mode
degrees of 1 to 3 - 5 - 7
extensions 9 - # 11-13

Tips: improvisation will be well to pay attention to the sounds of the 6th mag (13) of the Dorian mode, since this coincides with The 4th aum (# 11) of the Lydian mode.


Conclusions

"I Love You" was only a starting point to make some observations in perfect harmony and melodic ... will now be your task to implement and experiment with different solutions analyzed by adapting the rest of the track and, subsequently, on other tracks standards.

Before closing with this lesson, let me say one more thing ... you have certainly noticed in the examples and Video Mp3 sometimes limited use of colors in favor of a more clear phrasing and melodic ... For those interested will soon offer classes very thorough analysis of the phrasing and the use of techniques Be-bop that you can read up on that and Jazzitalia Blog.

Thanks for your attention and good work!

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What Std's Does Pinky Have

Lesson 4 - color and music

AGREEMENTS The 7 of the major key

In this first lesson of 2007 I would like to offer you one of my studies on the close link between music theory and the theory of color.

The chart will look by me was designed to highlight the "character" that has more shades of each agreement. I think that is very important to fully understand the role (or function tone) that the agreements in question 7 "interpret" in the same tone.

One of the goals I set myself the very beginning of my research was to groped to "materialize" the musical elements that they might be not only heard, but also "observed".

THE 3 STARS Diatonic

A brief introduction as "speculation" by the which have come to associate a certain way the colors of the prism with the Sounds of the 7 musical notes, are contained in my second instructional book.
Now you can read some details on the first lesson teaching written by me that you will find on the site Jazzitalia at the following link ...

Lesson 1: The Circle of Cadenze ("I Love You" by Cole Porter) Alberto Tebaldi http://www.jazzitalia.net/lezioni/albertotebaldi/at_lezione1.asp

Now before going further, I suggest you open the image below and download to your PC to be able to better follow the description below. Click

image to enlarge























The "diatonic 3 stars" are the elements that characterize the geometric and numerical structure this graph the function of which, I repeat once again, that will allow us to visually represent the seven tones of the agreements.

Each note was associated with a color like this:

C> D
blue> yellow
E> F Green
> neutral gray (brown)
G> A red
> arancio
B > viola

Se osservate attentamente noterete 2 triangoli di cui il primo (con la punta rivolta verso l'alto) collega tra loro i 3 accordi della Cadenza II-V-I maggiore (Dm7-G7-Cmaj7), mentre il secondo (con la punta rivolta verso il basso) collega tra loro i 3 accordi della Cadenza ii-v-i minore relativa (Bm7b5-E7sus4-Am7).

Le due Cadenze incrociate sono giustificate dalla "complementarità" delle note e dei rispettivi colori. Mi spiego meglio, per esempio:

la nota D (giallo) è diametralmente opposta alla nota B (viola); il giallo ed il viola sono 2 colori Complementari ed il II grado della Tonalità maggiore risulta così diametralmente opposto al ii grado della Relative minor key.

This applies for all other pairs, to note that a confirmation of the validity of this provision, including the C, level I of the major key, you will find diametrically opposite to A, the degree of the relative minor key.

go ahead, the fourth tonal degree Fmaj7 is the mediation (in the language of the neutral gray color ...) of the remaining six agreements.

The horizontal bar at the center of the graph represents the color shift that occurs between 7 degrees of the major key.

This graph and many others I have created over time have come to a first and important result: visually represent the tone major and minor keys on tearing both the sense of "abstraction" which for centuries artists and thinkers have attempted to solve.

One last point: the great 6-pointed star indicates the six agreements that make up the cadences II-VI, the average 6-pointed star touches the vertices of the hexagon that is created by the encounter between the two triangles ( 6 like colors), and finally, the small 12-pointed star of the encounter of the first two, confirms the "natural" link between the 12 notes of the tempered system with all the musical relationships discussed so far.

At this point it is finally possible to build and "observe" the seven tonal arrangements.

Click to enlarge























For the moment we stop here, but in the next lesson we'll see how this can be used for a creative learning jazz harmony.

the next episode!

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