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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