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Thread: The Schillinger System: Permutations

  1. #16
    Guitarist/Oudist/Composer jazz oud's Avatar
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    Hey Phil, this is very interesting stuff. I'd be interested in the lectures, I'll send you a pm with my email.

    Cheers,
    Brian

  2. #17
    Registered User ashbyanderson's Avatar
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    Quote Originally Posted by d2leo View Post
    I give free Speaking Schillinger talks on the web live on Thursday evenings 7:30 edt on Wiziq.com. We have been getting together for almost three years and have a great discussion.
    If you would like to join let me know and send me an email address and I will send you an invitation.

    Phil
    Would love to be a part of that. I'll send you my email

    thanks for the invite


    Enjoy your journey in Music,

    ASHBY ANDERSON

  3. #18
    Registered User ashbyanderson's Avatar
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    Quote Originally Posted by d2leo View Post
    Ashby
    What reference to Schillinger is there on the Ellington Album?

    Mercer Ellington studied the System,
    Earth Wind and Fire's Composer Arranger Charles Stepney used the System.
    The AACM was founded by Muhal Richard Abrams a Schillinger practitioner. I believe the other members Roscoe Mitchel et all used the System.
    Jason Moran, Toshiko Akyoshi, Jimmy Heath, Yusef Lateef just to name a few.

    pd
    I think it saw where Duke mentioned in it on the Blue Indigo Album but I'll have to check-but i think it was in reference to Mercer Ellington - I'll get back to you on that. As for these other artists, It's quite evident now that I think about it. Thanks for this info- it's a real eye opener!

    Enjoy your journey in Music,

    ASHBY ANDERSON

  4. #19
    Schillinger saved my life.
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    Schillinger studied Duke's Live at the Cotton Club and polished his theory on swing.

    There were two competing Jazz Schools in the 50's on both coasts and both schools featured the Schillinger System.
    The Schillinger House School of Music/Berklee College and Westlake Music School.
    Westlake had Bob Graettinger, Russ Garcia, Howard Roberts to name a few.

    We had a great class on Thursday I talked on Form the rhythm of the melody and the rhythm of the measures.

    Phil

  5. #20
    Schillinger saved my life.
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    Tomorrow I am talking about the Melodization of harmony. There are 36 Sigma 13 harmonies built on stacking tetrachords. You build a diatonic chord progression and transpose the chosen sigma to each root note. you vary the structures in a chosen pattern (triad, dom7, -7 etc..)
    There are a couple of ways to choose the scale for the melody. My favorite is by statistically count the pitches in the chords you have created and the pitches that show up the most become your scale to play over the changes. In Schillinger Speak this is called Diatonic Symmetric.

  6. #21
    Registered User michaelsorg's Avatar
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    Quote Originally Posted by ashbyanderson View Post
    For those searching for and interesting phrase,theme or melody, I generally right out the melody and look at the rhythm of my idea. When I need something different, permutations of the original theme are the way to go. The example below outlines the concept.

    Rhythmic Permutations with notes added

    Although the examples are simple, the concept is what you want to want to grasp when learning Schillinger's Approach. As his concept of Rhythmic Permutations are the first chapter in his book, this concept alone yield's great results. I used this approach on a lot on music that I compose.Readers can hear a sample of this approach using trumpet, trombone and tenor on a work called Span-African that composed a while back.


    Enjoy your journey in Music
    ASHBY ANDERSON
    Very interesting and beautiful! Thanks, Ashby.

  7. #22
    Registered User ashbyanderson's Avatar
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    Quote Originally Posted by d2leo View Post
    Melodization of harmony. There are 36 Sigma 13 harmonies built on stacking tetrachords. You build a diatonic chord progression and transpose the chosen sigma to each root note. you vary the structures in a chosen pattern (triad, dom7, -7 etc..)
    There are a couple of ways to choose the scale for the melody. My favorite is by statistically count the pitches in the chords you have created and the pitches that show up the most become your scale to play over the changes. In Schillinger Speak this is called Diatonic Symmetric.
    Whoah! now that sounds interesting! If you would Phil- what are sigma 13 harmonies? and how do we find the sigma note to each root note- Maybe a little notation outlining the concept if you've got it. I'll also be tuning in soon to the Thursday classes.

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