Intervalic Improvisation by Walt Weiskopf Pdf. Visit. Discover ideas about Pdf. Intervalic Improvisation by Walt Weiskopf. Pdf. More information. Saved by. Scribd. WEISKOPF PDF. By reviewing this publication Intervallic Improvisation - The Modern Sound: A Step Beyond Linear. Improvisation By Walt Weiskopf, you will. As usual Walt writes another wonderful book. After using (and teaching) with " Around the Horn" (a more moderately hard book compared to this one) I decided .
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intervalic improvisation - walt portal7.info Download as PDF or read online from Scribd Jerry Coker & David Liebman - 25 How To Practice Improvisation. Intervalic Improvisation - walt portal7.info - Download as PDF File .pdf), Text File .txt) or read online. Download Intervalic Improvisation - walt portal7.info
Published by Jamey Aebersold Jazz, Inc. Box , New Albany, In All rights reserved. No part of this book may be reproduced in any form or by. Church mode derivations no. Harmonic major derivations.
You can also try reversing the notes in each fourth to root Also take note of how some of Ex. Replacing the VI7 and V7 chords with flat-five substitutions—a common device in jazz harmony—results in a Bbm7-Bb7b5-Am7-Ab7b5-Gmaj7 progression that can be used interchangeably with most of the following examples. This is illustrated in Ex. Examples 4c and 4d follow with two more melodic permutations—one that doubles every note of each interval, and another that begins similarly, but reverses the order of notes every two beats.
All previous rules apply with one exception: The same fourth interval is played twice in a row both at the end of the descending figures over the V and I chords and at the beginning of the ascending figure over the IIIm7 and VI7 chords. Apply the same permutations from Examples 4a-4d as well as those of your own design.
This also works with fourths, or any combination of fourths and fifths. Apply all previous permutations and dig the results. Many of these designs can be started on any major or minor chord tone.
Fingered identically but played four frets higher, Ex. Similarly, Ex. For minor seventh chords, play the same design starting on the root or 5 same as major seventh chords , or begin on the b3 one half-step lower than the 3 , or the b7 a half-step below the 7. For altered dominant seventh chords, play the same design starting a half-step above or a whole-step below the root, or a minor third or flatted fifth either above or below the root.
Tim Price posted some info about this a few years back but it may have been in a previous incarnation of the forum and so now lost. There's also a small discussion here https: Walt's book is excellent. Gary Campbell also has a book out on triad pairs and its really nice.
In Intervalic Improvisation material played over the harmony beneath is based on intervals. In the pages that follow you'll discover a parellel universe of jazz improvisation. In fact. When players reach a certain competence as jazz improvisers they often feel a large piece of the puzzle is still missing. Intervalic Improvisation is not more complicated than linear improvisation. For any given chord there is one scale or more than one scale that sounds good on that chord.
It's a different way of playing changes. This material is usually based on scales. In Intervalic Improvisation certain notes are extracted from that scale or scales and organized into a "triad pair" that will also sound good on that chord.
The objective of this book is to introduce this other way of approaching improvisation to the jazz player and through the exercises and etudes in the book. Ultimately Intervalic Improvisation will become part of your general knowledge of jazz along with other techniques you have studied.
Intervalic Improvisation is a more comprehensive approach to jazz improvisation. In fact the principle is the same: The jazz improviser plays material that he or she has chosen to sound good over the underlying harmony.
In very general terms.
Combined with linear improvisation. The way to achieve this goal is to first read carefully the text that follows pages For every scale there is a triad pair or in many cases more than one that can be derived from that scale.
This book is one that codifies a method of intervalic improvisation. When jazz players learn to "play on changes" they learn linear improvisation.
Bebop is the earliest form of true linear improvisation and much of modem jazz is directly related to bebop and therefore. The two triads. Example 2. F in first inversion.
Fin second inversion. The most efficient way to begin to think intervalically is to pick two triads that capture a certain tonality.
In this case. The player will ultimately teach himself many different permutations of the triad pair and perhaps have some of his or her own favolite "licks" based on the triad pair. Although the triad pair is comprised of just two triads. Example 3a. Example 3.
Practice the triads alternately. In this case you probably think of the D dorian scale D. G in second inversion. Fmaj and Gmaj triads played alternately capture the tonality ofDmi7 because they are derived from the D dorian scale. G in first inversion.
M3 m3 When you are as familiar with this set of notes as you are with the D dorian scale you can begin to get a sense of improvising intervalically. The most inside triad pair on Dmi7 is F. Dmi7 triad pair F. Impressions is a thirty-two bar modal tune with the form AABA. The second mode of the C major scale is the C major scale starting on D.
Dorian 2nd mode. The triad pair for Ebmi7 is Gb. Lydian 4th mode. Mixolydian 5th mode.
The triad pair for Dmi7 is F. Below are the triad pairs for Dmi7 dorian and Ebmi7 dorian. Example 4. G Fmaj and Gmaj. Let's apply this concept to the chord progression from Impressions by John Coltrane. The most basic or "inside"2triad pair for any church mode chord will always be two major triads a whole step apart.
Dmi7 is a "church mode chord" because it is derived from the D dorian scale. Minor chords Previously we looked at one chord. It works because it is derived from the D dorian scale. The examples that follow will look at some common chords and triad pairs based on the church modes. The church modes are Ionian 1st mode.
The definition of a church mode is any mode which is based on a major scale. C Fmaj triad and Cmaj triad is not a triad pair because the note "C" is in both triads. For example.
Triad Pairs derived from Church Modes The dorian scale or dorian "mode" is a "church mode". The bridge modulates up a half-step to Ebmi7. Phrygian 3rd mode. G that when played over Dmi7. EG Fmaj triad and Gmaj triad is a triad pair because these two triads do not share any of the same notes. The "An sections are all one chord. Ab Gbmaj and Abmaj. It is derived from the Eb dorian scale. Aeolian 6th mode and Locrian 7th mode.
They are: G Fmaj and Gmaj because it is derived from the Ionian mode. There are several different triad pairs that could be played but the most "inside" one that works well on C7 or Csus7 is C.
F might be as good a choice or even a better choice. Example 5b. Bb Cmaj and Bbmaj because it is derived from the C mixolydian scale. Example 5a. Depending on the music. Here is an example of some triad pairs applied to dominant chords and one minor chord.
Non-harmonic tones If you play the triad pair F. B because it contains F. Example 7. Determine what key the scale that fits that chord is in and build a major triad on the 4th and 5th scale degrees of the key. D is the first choice on Cmaj7 11 because it is derived from the C lydian scale.
D because the 4th and 5th scale degrees in the key of G are C and D. To find the most basic triad pair for any chord based on the church modes ionian.: Dmin7 is in the key of C because the D dorian scale is the second mode of the C major scale so the triad pair is F.
CMaj7 11 triad pair C. Cmaj7 11 is in the key of G 3 because the C lydian scale is the fourth mode of the G major scale so the triad pair is C. The triad pair C. G the suspension is F to E. The suspensions and resolutions are enclosed by boxes. Non-harmonic tones need to be resolved to other tones in the triad pair or in the scale from which the triad pair was derived. Many jazz writers simply do not use key signatures they use accidentals instead because the actual "key" in jazz changes so often.
Although a C major scale works over a C major chord. G over a C major chord. G On a major chord with a raised eleventh like Cmaj7 11 the scale that first comes to mind is the C lydian scale C. Example 6b. G because the 4th and 5th scale degrees in the key of Care F and G. G Fmaj. The C major scale or a mode of the C major scale works in each case.
Metaphorically sreakmg. A Gmaj. On C7 triad pair Bb. Gmaj triads works on Dmi7. Bbmaj triads. E Dmaj. The same is true for Intervalic Improvisation. This does not mean. C the sus.
Emaj triads. D there are no real non-harmonic tones. Because the triad pair F. Bb Abmaj. In example 8a the triad pair for each chord.
In example 8c the first two chords. Gmaj triads. G works over the progression Dmi G7 Cmaj does not mean that a good player will just run the triads up and down. Amaj triads. G7 and Cmaj is F. Emi7 and A7 are in the same key so the triad pair is the same for each chord. The triad pairs are used in combination with more familiar linear material.
Bb7 and Ebmaj7 is Ab. On G7. G the sus. On Amin7 dorian. In linear improvisation. The triad pair for the last chord. This is because Dmi7. Let's look at a few examples of how triad pairs might be used in a real phrase on a ii-V-I progression. In example 8b the triad pair for each chord. On Dmi. CMaj I ex. Emi A7 DMaj7 11 -- 2. The following examples are based on modes derived from the harmonic minor. In bebop. Triad pairs derived from other modes modes of melodic minor.
Harmonic minor. C as in the bebop lick in the example below. Very often in modem jazz we tend to equate the chord Dmi7 with the D dorian scale. The examples that follow are triad pairs derived from other kinds of modes. The dorian sound that seems to dominate the way we think about minor chords today became very prevalent during the advent of modal jazz in the early 's.
On C alt one triad pair that works very well is Gmaj and Aaug because it is derived from the C altered scale C. The term "altered" generally means that one or more extensions of the chord are altered: The name for this chord denotes a minor chord with a major seventh instead of the usual minor seventh.
The triad pair G-. The triad pair that works best over Dmilmaj7 is G. The altered scale is also the seventh mode of the melodic minor scale..
Usually the "altered" scale often called the "diminished-whole tone" scale or the "locrian b4" scale is a very good choice on altered dominants. Emi7 b5.
A7 b9 and Dmi are all in the "key" ofD harmonic minor. On a Dmilmaj7 chord. There are many different ways of altering dominant chords but the one below we'll call simply C alt This notation is shorthand for. The ascending melodic minor seale has a natural sixth degree and a raised seventh degree and the descending melodic minor scale bas a lowered seventh degree and a lowered sixth degree.
Call it the "first cousin" of the first altered scale triad pair. The triad pair is G. This scale is perfect for dominant seven-sharp eleven chords which have exactly these alterations. It is also derived from the altered scale which is the seventh mode of the melodic minor scale although both triads are major triads.
One scale that works well is the altered scale the seventh mode of the melodic minor scale.
On a C7 11 a triad pair that works very well is C. The term lydian-mixolydian refers to the combination of a raised eleventh and a dominant seventh in the same scale. The first melodic minor scale triad pair. It differs by only one note but the sound is noticeably different. A Gmaj and Amaj. It works because it is derived from the C altered scale C. Triad pairs derived from the diminished and inverted diminished scale work perfectly on dominant seven-flat nine chords for the same reason the diminished or inverted diminished scale works: These triad pairs are derived from the D diminished scale D.
Bb7 b9 Bb. Bb Dominant seven-flat nine chords An informed student of jazz knows that the inverted diminished scale the eight note half step-whole step scale.
It is also the third mode of the melodic minor scale. Cb contains a D 0 7 D is the third. Ab is the seventh and Cb is the flat nine of Bb7 b9.