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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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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.

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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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