Dave Liebman: A chromatic approach to jazz harmony and melody.

 

[These are my own concepts taken from Dave Liebmans Brilliant Book A chromatic approach to jazz]

This first idea is a simple way of weaving in and out of unrelated harmony.

Here the C natural slides into the C# and then into an F# arpeggio which then revolves by letting the C# fall back into the C natural of the F major arpeggio with a flat 5 resolving to the fourth.

Dave Liebman A Chromatic approach to jazz harmony

The next example is an extended line with a substitution of a substitution creating chromatic interest.

Dave Liebman concept of chromatic jazz harmony

VARIATION:

LONGPNE

Below we see a concept of weaving through two different key centres. Thinking F for D minor and then through F# and sidestepping back to resolve the line.

Dave Liebman chromatic approach to jazz idea

VARTIATION

A chromatic Dave Liebman concept

VARIATION

 

A chromatic approach to jazz harmony and melody Dave Liebman concept

Flat 5 substitution. D minor and A flat major.

flat 5 substitution b5 sub Dave Liebman Chromatic approach to jazz line

VARIATION:

B5

Dave Liebmans book is an excellent and inspiring means of absorbing chromatic improvisational knowledge and ideas for your own playing.

511-P62qKeL copy

I am not promoting this book. But I am very grateful for its existence and for its powerful inspiration to me on a daily basis. Anyway, below is a brief overview.

This book should be seen as a method to help the artist to develop his or her own way when trying to improvise chromatically. Through the concepts and examples offered, the improvisor should be able to use this material alongside already familiar tonal ideas. Specifically, the book serves as a guide for organizing chromaticism into a coherent musical statement meant to satisfy both the intellectual and emotional needs of artistic creation.
The reader will be introduced to more than one way of conceiving chromatic lines and harmonies. There is nothing theoretically complex or new in the text, it is the organization of the material as well as many musical examples and transcriptions (Bach, Scriabin, Coltrane, Shorter, Hancock, Beirach, Liebman a.o.) which should serve to inspire musicians to expand their usual diatonic vocabulary.
This book also provides insight into the style of playing that David Liebman is known for. In addition the book contains 100 assorted solo lines and 100 chord voicings.

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Enclosure/Target Tones Jazz chromatics for the improvised line

The key to understanding this is to look where the little target tones/enclosure motif/melody starts.

Here we have two.

The first is “OFF” the BEAT

and the second is “ON” the beat

Example 1: “Off Beat” classic target tone/enclosure set-up

Jazz chromatic target tones explained

Example 2: “On the beat” and in the bar set-up in the improvised line [Target tone/Enclosure]

On the beat jazz Target tone/Enclosure for improv

THEORY:

What you will notice is that the Chord tones are “on” the beat [Strong] whilst the chromatic or unessential notes are “Off” the beat.  

This is the key to how it works and how to create beautiful flowing lines easily!

Bebop target tones enclosure jazz improvisation explanation
Chord tones on the “Strong” Beats for jazz enclosure

Full Target tones/Enclosure Jazz Chromatics improvisation lick/line

Target tones/Enclosure Jazz Chromatics improv lick/line

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Alternate Picking Sextuplets Guitar Exercise

Guitar Trio Concepts:

Guitar Trio alternate picking guitar lesson
Al di Meola John Mclaughlin Paco De lucia Guitar Trio

Sextuplets alternate picking guitar technique:

The point of this exercise is to understand that the last note plucked in each group of sextuplets is on an “Up” stroke, so it is “Up skip over pluck down” for the next group of 6 notes.

Alternate picking Guitar Technique

Exercise: For alternate picking sextuplets technique in one position.

Alternate picking Guitar Technique sextuplets lesson

Extended sextuplet alternate picking guitar technique exercise for “Coming up on the upstroke”

alternate picking guitar exercise sextuplets 6's

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Polytonal Scales [Mirror Harmony]

Polytonal and polymodal mirror harmony via scales

Each mode of the major scale has it’s mirror [modal] opposite because the whole diatonic scale system can be symmetrically inverted.

Inverted Symmetrical Reflection. The intervals are the same both in harmonisation and contrary motion.

MIRROR SCALE AND HARMONY

OR:

MIRROR HARMONY SCALES MODES OF MUSIC

Lydian-Locrian=Mirror pair

Ionian-Phrygian=Mirror Pair

Mixolydian-Aeolian=Mirror pair

Dorian-Dorian=Palindromic [Produces the same scale either way].

modessss

MIRROR SCALES

Major scale mirrors

polytonality major scale example
Major Polytonal scales

Polymodality modal mirrors

polymodality music scales
Polymodal scales [Modes]

Hungarian Minor Polytonal mirrors

Hunmgarian minor scales polytonality
Polytonal Hungarian Minor Scales

Polytonality exotic scales

Enigmatic scales and Superlocrian scale lesson
Polytonal Exotic Scales

Polymodality Modes in contrary motion

Polymodal scale example
Polymodal “Contrary Motion” example

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Shakti Indo Jazz fusion alternate picking guitar lick

The key to this Shakti guitar riff is to “Shift” the fretting hand positions whilst employing strict alternate picking with the plectrum in the right hand as can be found in the guitar style of John Mclaughlin.

This is a great exercise for right hand picking technique by alternating with the plectrum starting on a “downstroke” whilst synchronising the left hand with the position shifts on the guitar fingerboard.

 

 

Shakti alternate picking hand position shifting guitar lick in TAB/Notation

shakti John Mclaughlin guitar alternate picking lesson

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Messiaen Modes of limited Transposition Composition

Messiaen: La technique de mon langage musical.

Modes of Limited Transposition Composition for piano.

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