Hi Guys,
Today, a look at “Motif Cycling”……
What is this?……you may well ask,
Well, it’s an amazing creative and colourful concept for exploiting arpeggios or in this case 4 note tetrachords and shifting them up or down by a specific interval.
This creates interest with the row/line going outside of the harmony and at the same time creating an almost composed sense of thematic material as it rises or descends.
It’s an amazing improvisational tool, not just for jazz, but, also rock and any other genre!
EXAMPLE 1:
In this first example, we will employ our motif cycling concept over a G7 Dominant Chord.
To do this, we will take a G6 arpeggio and have it cycling up in minor 3rds.
HOW TO MAKE THIS WORK LIKE A PRO!
The key to making this work effectively is to play the line at a fast tempo!
By making the line “Quick” it tricks the ear of the listener into following the line as opposed to discriminating and trying to make sense of it.
EXAMPLE 2:
In this next example, we will be cycling up in flattened 5ths. This will be with root position arpeggios of A Major and Eb Major.
FULL LINE:
EXAMPLE 3:
Now, we will vary it a bit.
To start with, we will take diminished 7th arpeggios and have them cycling up in perfect 4ths.
From here, we will the go up a 4th to Dm and then up a minor 3rd for F7 where the Eb note [7th] resolves to the E natural note of the next chord [Em]
EXAMPLE 4:
In this example, we will take a Bsus4 Arp/Motif which will descend cycling “Down” in Major 3rds.
This has a very Brecker-esque sound and feel to it.
EXAMPLE 5:
Now, let’s take a longer example…..
To start this, we will employ a 4 note tetrachord motif that is cycling up in semitones.
To create interest, we will exploit tones, a fourth and back to tones: [Also, notice when the semitones resolve]
Finally, let’s keep ascending and have this cycling in semitones to the top of the neck:
EXAMPLE 6:
Lastly, let’s mix up a quartal triadic sound of inversions, but, with 4 note groupings. This creates a lovely chromatic Coltrane-esque cycle.
IN CONCLUSION;
This was just a quick look at the brilliance of Motif Cycling. It is such a useful, colourful and creative improvisational tool as exploited by Herbie Hancock, Michael Brecker and Pat Metheny.
The key though, is to use it sparingly and with a double time quick feel as it glides through the harmony with it’s colourful chromatic charm.
It is best used when the harmony is quite static [one chord] or if the chord sequence/changes have a predictable and pedestrian quality.
Motif cycling adds excitement and freshness, whilst giving a new direction and flavour to where the solo line is going and what it has to say!
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