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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