modern music theory and application
Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
Please watch video above for more detail
Jazzimproviser’s FREE PDF TAB/MUSIC NOTATION:
Jazz Improviser employs Robert Fripp Guitar Line from the A Whole Tone Scale.
A whole tone scale:
Fripps’ guitar technique for this line employs strict Alternate Picking: It is a good idea to accent the 1st and 3rd beats.
Here is the Fripp Whole tone scale guitar line in full:
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Today it’s just a short video as a response to the Modes of the Major Scale.
Many on the internet teach the modes as just learning the C major scale and starting on a different degree of that scale.
They NEVER show/play the Chords,Slash Chords, Harmony, Pentatonic’s, Arepggio’s, Superimpositions, Transpositions to Parent key, Sequences of Tonal Flavour, etc.
This is really bad and wrong teaching, and, for a beginning improviser or composer this is harmonically devastating when put into a “Real” situation with Pro Improvisers or Composition Expectations.
Without transposing the modes you have nothing with which to compose or improvise with. It’s no good just playing a C major scale over C major. That’s not what it is.
The video above has a brief look at what an improviser or composer should do or will do instinctively.
Below is a FREE Download. Click on Book Cover:
For more information try George Russel’s “Lydian Chromatic Concept: [Best to borrow from a library as it is an expensive book]
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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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