A Chromatic Approach To Jazz Harmony And Melody Pdf Download
Apr 13, 2017 Chromatic notes and chromatic enclosures has been a part of jazz vocabulary since Bebop. For many people Chromatic approach notes are a big part of the sound of a jazz lick. In this video I am going to show you how it isn't that difficult to combine arppegios with a chromatic enclosure and make some great sounding lines. Download as PDF or read online from Scribd. Documents Similar To armonia - dave liebman - a chromatic approach to jazz harmony and melody.pdf. Skip carousel.
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Practice in 4 Directions Just as practicing your diatonic scales in all covers all possible variations, shedding these chromatic patterns in all four directions will ensure that these lines will be in your fingers. For our purposes here, we’ll take one intervallic pattern (whole steps moving chromatically) and explore it ‘s variations. Start with this example and take it through all four directions ascending and descending: Down Down Down Up Up Up Up Down Emphasize Goal Notes Once these exercises become comfortable, start to think of how you can use these devices in your soloing. Playing with these kinds of lines can be especially effective in creating momentum in your lines towards a goal note or strong arrival point. One of the reasons this technique is so effective is that the chromaticism acts as a harmonic tension, building towards a resolving note. Try aiming for a chord tone as the arrival point of your chromatic based line. In the following example over the chord E -7, the resolution point of each chromatic structure is a chord tone (the root, 3rd and 5th): Chromatic lines over ii-V’s Continuing with the idea of aiming for goal notes over one chord, try to write down some lines that work over a progression and resolve on the final chord.
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A Creative Approach To Jazz Harmony
What you must do to gain familiarity and eventually facility with these patterns, is create exercises aimed at acquiring this technique. Start simple with isolated exercises and then slowly build upon those concepts until you are creating your own vocabulary.
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A Chromatic Approach To Jazz Harmony
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Chromatic notes and chromatic enclosures has been a part of jazz vocabulary since Bebop. For many people Chromatic approach notes are a big part of the sound of a jazz lick. In this video I am going to show you how it isn't that difficult to combine arppegios with a chromatic enclosure and make some great sounding lines. I have 5 examples each with a different type of chromatic enclosure in the line. Wondershare mobiletrans torrent. In fact you can use your arpeggios and the chromatic approach ideas that I go over here to already build some really great chromatic jazz guitar licks.
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The trick is to incorporate these patterns into your playing and technique after establishing an approach to improvising that is diatonically based. When we learn music theory and start to improvise, we use material that is based largely upon diatonic construction or modes of the major scales. Gradually, as we progress, we add some altered or non-traditional scales like the octatonic, diminished, or whole tone scales to our vocabulary. Still, at the core, everything is rooted to diatonic modes and their resulting progressions. Coming from this type of musical education, lines that move in intervals and patterns not found in the traditional modes (i.e. Chromatic movement) can feel foreign at first and will take some work to get them in your ears and under your fingers.
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Since ii-V’s occur in countless standards, having some new material to navigate this common progression will be very beneficial. Try constructing a line built upon ascending and descending chromaticism, for example: Where to go from here Approaching improvising from this type of mindset opens up new possibilities because the structure of the line and relationship of the intervals become the focal point rather than the accompanying chords. The above examples are only a glimpse of what is possible when you incorporate close chromatic structures into your lines.
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