Modern Music Theory and Application

The Practice Notebooks Of Michael Brecker: Book Review

Posted on July 17, 2023July 30, 2023 by Modern Music Theory and Application

The Practice Notebooks Of Michael Brecker: Book Review

IMPORTANT: Please watch video above for detailed info:

Hi Guys,

Today I am reviewing the amazing collection of entries from Michael Brecker’s practice notebooks. With over 700 entries there is a lot to choose from.

Okay, let’s get started.

This book goes through the different decades of Michael Brecker’s musical life, starting from 1967 through the 70’s, 80’s, 90’s and up to 2002.

There are six books within this:

In order to do justice to this collection of entries I will analyse a few.

From this it is revealing and in many cases surprising because Michael Brecker starts with such a simple seed, an almost childlike simplicity which is then expanded on with many of his trademark improvisational techniques.

This in turn opens the door to Michael Brecker’s improvisational mindset, self study and developmental nature:

EXAMPLE/ENTRY 1:

michael-brecker-practice-notebooks-book-review-examples

Here, we can see a ii V7 I which becomes a turnaround: [Notice the employment of Dominants]. The Am7 chord slides up a semitone to the Bb7 chord which then moves in the cycle of 4ths to Eb7 to Ab7 which then slides down a semitone again to the tonic key G.

But, what makes this line unique is the connecting of the solo line: Because the harmonic rhythm is moving at such a fast rate [1 chord per beat] the solo line needs to connect seamlessly.

And so it does. Above we see the G to Ab to G back and forth employing the same smooth semitone connection which finally resolves an octave lower.

Joe Henderson Line

The next example is from an entry that Michael Brecker took from Joe Henderson:

This example is interesting because we see one of Brecker’s trademarks, “Sidestepping”.

This little line starts off with a simple piece of scale that then incorporates side stepping,

This then connects to a scalic bebop style lick which then cadences beautifully with a minor 6th interval.

MODULES

The next example demonstrates Michael Brecker’s use of 4 note modules.

This module is exploited in a short line.

Below we can see the module that then connects to a simple minor 7th arpeggio.

This then slides down a semitone to connect the module again. Finally, finishing with a lick

COUNTDOWN

The last example is a phrase from the classic jazz repertoire “Countdown”.

This again is unique due to its structuring with simple triads and motifs/modules:

Below we see the modules/motifs repeated, but, moving down in Major 3rds.

Next, we see the filling out with the simplistic employment of basic triads:

Below, we see the minor 7th arpeggio, triads and final rudimentary cadential lick.

CONCLUSION

This was just a quick look at a few entries that Michael Brecker would expand on, play in all 12 keys and use a as basis for extemporisation, composition and improvisation.

This book is for the serious student of improvisation, wether a beginner or pro and anyone seeking to get into Michael Brecker’s mind and understand his ways of working/practicing as an improviser.

Lastly, I would like to thank all the people at Sher.co music for putting me on to this amazing book!

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Alternate Picking Guitar Technique: The Plectrum/Pick Grip

Posted on July 9, 2023July 17, 2023 by Modern Music Theory and Application

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Alternate Picking: Essential Grip for fast articulated picking

IMPORTANT: Please watch video above for detailed info:

Hi Guys,

Today, a quick look at alternate picking plectrum/pick grip.

It’s not so important how you hold the pick or what finger you use. But, it is essential not to have a wobbly thumb and/or finger .

A lot of guitar players when they start out with alternate picking often change the grip just as they are about the pluck the string! This makes it impossible to gauge distance.

When the thumb is rigid and the grip is solid, distance, articulation and timing fall into place automatically.

Pic 1: Good solid grip

Pic 2: Pick confidently plucks string

Below [Pic 3]: BAD! At the last moment the pick is turned as it is about to pluck the string and the thumb and finger wobble/collapse:

2 BASIC EXERCISES:

Here are a couple of exercises for practicing whilst getting the feel of gripping the pick firmly.

The first is a simple A minor Pentatonic scale in sextuplets. Counting basic 1 2 3 4 5 6

This starts on a down stroke:

alternate-picking-guitar-techniques-exercise

Next we have the same thing but in groups of four 16th notes.

It’s a good idea to play around with these two exercises by mixing the groups of 4 and 6 together and create little phrases out of them.

PDF DOWNLOAD:

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MINOR TOPIC-EASIER WAY TO IMPROVISE WITH MODES

Posted on June 24, 2023July 9, 2023 by Modern Music Theory and Application

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minor topic-an easier way to improvise with modes of music

IMPORTANT: Please watch video above for detailed info:

Hi Guys,

Today, a quick look at another way of exploiting modes/improvisation on the guitar fingerboard.

We will be creating music via concepts/musical tools based on this minor shape.

Why do this?

Because with this 5 fret shape arpeggio we can easily create:

So, for instance in C Major [Ionian] we can take chord iii and Vi arpeggio shapes as a solid base and create/develop improvisation-as opposed to learning millions of scale/mode shapes/patterns etc.

With this as a base we can develop proper musical lines and rhythmic phrasing

Before we start it’s important to see how easily chords iii and Vi link together:

Example:

The first thing to be aware of is the basic pentatonic’s right under our fingertips with this arpeggio shape:

[These pentatonic’s give us some basic building blocks from the outset]:

QUARTAL SOUNDS

Next let’s add some 4ths for a Quartal jazz/fusion-esque sound:

Descending:

Ascending:

With extension

Basic Quartal fingerboard movement:

CYLE OF 4THS

Another thing to take into consideration is the cycle of 4ths under our fingertips:

Remember that we can also make these, major, minor, diminished or augmented:

For instance all major:

All minor

[This gives us even more colour and choices for chromaticism/chromatic movement right under our fingertips once again]

TARGET TONES/APPROACH NOTES [JAZZ CHROMATICS]

Below, we can see the set-up for target tones with this Em arpeggio shape:

We can also add some chromatic notes to this to create a longer jazzy-esque line:

String Skipping Petnatonic’s

String skipping works well because it removes familiarity/cliches from the ear:

Here are two examples:

Example 2:

PAIRING TRIADS

Lastly pairing triads works really. Here is a Lydian example:

conclusion

This blog has only really touched on this way of thinking, but, you can see how easy it is to make connecting lines and musical phrasing and how to exploit improvisation tools from this simple minor arpeggio shape.

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