11.3.2 applying melodic content exercise 107/11.3.2... · applying melodic content: exercise 1 ......

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Applying Melodic Content: Exercise 1 Progression based on the changes to “Solar” So now we have analyzed the progression, the function of the chords, the appropriate chord scales and understood the key changes it’s time to add some melodic patterns over the form. For this series of lessons I’m thinking of chord to chord but I’m staying diatonic to the key of the moment. These exercises have many benefits and are a great way of organizing your ideas melodically through the progression. Throughout this series of exercises we will be dealing with Arpeggios, Chord Tones and Diatonic Passing Tones. Throughout this exercises we will be starting on different chord tones. As a bassist we are constantly drawn to the Root of the chord as that’s primarily our function. When soloing or writing melodies bassists in particular can have a hard time adjusting their ears to hearing above the Root. There following 12 exercises will address that problem. They are great for understanding different positions. Improving your technique. Understanding functionality of the chords and adjusting the pattern to fit the harmony. Improving your ears. Understanding of Secondary Dominant Chord Scales. Understanding of Functional Diminished Chord Scales. How to move around different chords and key changes. Improve your melodic development.

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  • Applying Melodic Content: Exercise 1 Progression based on the changes to Solar So now we have analyzed the progression, the function of the chords, the appropriate chord scales and understood the key changes its time to add some melodic patterns over the form. For this series of lessons Im thinking of chord to chord but Im staying diatonic to the key of the moment. These exercises have many benefits and are a great way of organizing your ideas melodically through the progression. Throughout this series of exercises we will be dealing with Arpeggios, Chord Tones and Diatonic Passing Tones. Throughout this exercises we will be starting on different chord tones. As a bassist we are constantly drawn to the Root of the chord as thats primarily our function. When soloing or writing melodies bassists in particular can have a hard time adjusting their ears to hearing above the Root. There following 12 exercises will address that problem.

    They are great for understanding different positions. Improving your technique. Understanding functionality of the chords and adjusting the pattern to fit the

    harmony. Improving your ears. Understanding of Secondary Dominant Chord Scales. Understanding of Functional Diminished Chord Scales. How to move around different chords and key changes. Improve your melodic development.

  • This progression is a continuation from the progression we looked at based on the changes to the standard All The Things You Are for a few different reasons.

    The duration of the chords last either 2 measures 1 measure or half a measure (2 beats) There are several Key changes to work through. We introduce chord scales from the Harmonic Minor Modes.

    The 1st melodic pattern I will introduce is based on the scale degree pattern 1, 2, 3, 4, 5, 3, 1. However I really want you to hear these phrases differently from a scale. I want you to hear them as relationships between Chord Tones and Diatonic Passing Tones or Diatonic Scale Approaches. If we are treating this line to play over a C Major 7 chord and by using the C Ionian scale it will look like this.

    The phrase starts on the Root and approaches the 3rd degree with a diatonic passing tone in-between. From there we are approaching the 5th degree with another diatonic passing tone in-between. From the 5th degree we are playing a descending arpeggio to the Root. Now all you have to do is understand the key you are in then adjust the pattern to fit over the Chord in question. For example if we were playing this pattern over a IVmaj7 we would raise the 4th degree up a half step to #4. The 1st chord in this progression is a C-7, which was analyzed as a I-7. We are thinking of C Dorian as our mode and Chord Scale. You would adjust the notes to fit in the Key of C Dorian.

  • The line will look like this.

    In this progression we are introducing chords that last 2 beats each so we will have to adjust the pattern to fit the duration. The phrase starts on the Root and approaches the 3rd degree with a diatonic passing tone in-between. From there we are just playing the 5th degree. Here is the melodic phrase over Eb-7 Ab7 chords.

    In the last measure we are introducing a Minor II V I as discussed in Lesson 1 we decided upon the C Aeolian Key for the D-7(b5) and the 5th Mode of C Harmonic Minor for the G7(b9). Here is the melodic phrase over D-7(b5) G7(b9) chords.

    Practice this exercise from a slow tempo up to a more challenging one. Play through the progression 3 times without stopping using different areas of the instrument. Also its important to work out some different fingering patterns for each chord. When the tempos get fast and the progressions get more intense it will really help your fluidity if you are adapting your fingering patterns to make your transitions smoother. I want you to work out the correct pattern to play over this progression using your knowledge from the Analysis lessons. Its easy for me to give you all the answers but if you want to develop and improve you must start figuring out some of this stuff for yourself.

  • I will always provide the correct instructions along with a video demonstrating so between these things you should have enough to be able to figure this out. Im always available in the forum for any questions.