EdByrne
May 30th, 2007, 02:55 PM
Hi Everyone,
I know how much y'all love scales, so check out what I'm practicing now. It's different! It will appear in my next book in my Linear Improvisation Series.
Click here:
http://www.freejazzinstitute.org/showposts.php?dept=analysis&topic=20070530133503_EdByrne
Write in you comments, please.
Bichordal Pitch Collections
Here’s a technique which I have been working on to great result:
Bichordal Pitch Collections, in which I systematically combine every
combination of these two chord types into close position pcs. I prefer
to use primarily major and minor triads, since they have the most
sonority of the four triad types. In this approach, I combine major
triads with major, minor with minor, and minor with major triads. In
the process, some very unusual pitch collections of mostly tetrachords
(4-note collections), pentachords (5), and hexachords (6) are achieved.
I like pcs that leave a gap or more because they are more melodic. 7-
note scales tend to foster conjunct lines that don’t breathe. Moreover,
even by systematically omitting a note or more from a common scale
or mode makes the collection profoundly different. For example, try
improvising on a typical Lydian mode without the 2nd degree. It’s
very different than using the entire 7-note scale.
These pcs should be practiced in all 12 keys throughout the entire
range of your instrument, and they will add a great deal to your
musical vocabulary for jazz improvisation.
While these collections can be assigned to specific chordal situations
in a progression, I’ll leave that up to you, since I do not base my
improvisations on chord scale theory. My Linear Improvisation
Method places primary importance on the composition’s salient
characteristics: melody, guide tone lines, and root progression.
Improvisations based on these elements will work over virtually any
harmonic style. Indeed, for me, the chord progression does not rule,
but merely co-exists with my lines.
Therefore, I view this technique as a means to learning vocabulary
that will find its way into my playing naturally as it is internalized,
and will serve as color and added expression to these most important
linear elements of the composition.
I know how much y'all love scales, so check out what I'm practicing now. It's different! It will appear in my next book in my Linear Improvisation Series.
Click here:
http://www.freejazzinstitute.org/showposts.php?dept=analysis&topic=20070530133503_EdByrne
Write in you comments, please.
Bichordal Pitch Collections
Here’s a technique which I have been working on to great result:
Bichordal Pitch Collections, in which I systematically combine every
combination of these two chord types into close position pcs. I prefer
to use primarily major and minor triads, since they have the most
sonority of the four triad types. In this approach, I combine major
triads with major, minor with minor, and minor with major triads. In
the process, some very unusual pitch collections of mostly tetrachords
(4-note collections), pentachords (5), and hexachords (6) are achieved.
I like pcs that leave a gap or more because they are more melodic. 7-
note scales tend to foster conjunct lines that don’t breathe. Moreover,
even by systematically omitting a note or more from a common scale
or mode makes the collection profoundly different. For example, try
improvising on a typical Lydian mode without the 2nd degree. It’s
very different than using the entire 7-note scale.
These pcs should be practiced in all 12 keys throughout the entire
range of your instrument, and they will add a great deal to your
musical vocabulary for jazz improvisation.
While these collections can be assigned to specific chordal situations
in a progression, I’ll leave that up to you, since I do not base my
improvisations on chord scale theory. My Linear Improvisation
Method places primary importance on the composition’s salient
characteristics: melody, guide tone lines, and root progression.
Improvisations based on these elements will work over virtually any
harmonic style. Indeed, for me, the chord progression does not rule,
but merely co-exists with my lines.
Therefore, I view this technique as a means to learning vocabulary
that will find its way into my playing naturally as it is internalized,
and will serve as color and added expression to these most important
linear elements of the composition.