Schoenberg – Page 2 – Modern Music Theory Improvisation and Application

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12 Tone Jazz/Fusion Quartal/Quintal improvising and composing concepts

Please watch video above for detailed info:

Hi Guys,

Today, a look at employing 12 tone rows for Quartal and Quintal improvising and composing.

Here is the first row: Notice the movement of 5ths and 4ths.

Now, we will play it backwards with retrograde motion or reversal: Also, notice the use of changing register.

Full 2 bars:

In this next example we will employ Triadic movement and semitone connections.

In the following part we connect triads directly:

Finally, we will add some non 12 tone notes to complete the phrase:

From here we will exploit the tone row and make 4 bars of music from it: Here is the 12 tone row:

We will now copy it and change register: Notice that the last four notes descend:

Now, that we have this we will reverse both bars and create another 2 bars of music:

Lastly we will join together 2 different rows: We will break these up a bit with the first part acting more like a vamp:

The second part employs quintal and quuartal movement once again:

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DETAILED ANALYSIS IN THE VIDEO BELOW:

Messiaen, Fripp, Mclaughlin, Schoenberg, 21st century harmonic concepts

In this blog we will look at improvising over one chord. This will be D minor [D Dorian].

The key is to use chromaticism, tertian harmony, superimposition and outside harmonic content in order to create interesting improvised lines and move away from the cliches of scales and modes to create originality.

For example:

The key for smoothness is to be aware of where the 1/2 steps [Semitones]are in the “Connections”.

If we look below we can see where the 1/2 steps connect and how to play off of the tonic note with this. In this case we play off of the tonic D note resolving straight into the Eb note for Eb melodic minor. We can then resolve down a half step to C#m and back down into D Dorian

Fripp ,Brecker, Mclaughlin chromatic Improvising method for jazz fusion improvisation

Chromatic jazz improvisation Brecker, Mclaughlin and creative Fripp improvising concepts

So as you can see it is easy to weave in and out of the harmony and get back to D Dorian via the 1/2 step.

Below is a line that beautifully weaves in and out of D minor

In this next example we will use tertian harmony and exploit superimposition. We will employ D melodic minor and and keep extending via C melodic minor.