tag:blogger.com,1999:blog-31589762794072629242024-03-13T02:44:53.335-01:00Musica e TecnologiaUnknownnoreply@blogger.comBlogger89125tag:blogger.com,1999:blog-3158976279407262924.post-9362933882780627612011-06-22T22:24:00.000-01:002011-06-22T22:24:19.094-01:00Franco Morone - My Acoustic Blues Guitar Download<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Arial, sans-serif; line-height: 19px;">With My Acoustic Blues Guitar, <b><i>Franco Morone</i></b> succeeds in unifying an interesting music book and a manual for playing fingerstyle blues .He presents a method that starts with easy elementary exercises , then the more sophisticated ones in which elaboration is on tyical fingerstyle blues phrases . These are then used in 10 full scale blues pieces and 6 studies .The compositions are like a challenge for more the advanced players. CD included!</span><br />
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<span class="Apple-style-span" style="font-family: Arial, sans-serif; line-height: 19px;"><b><u><a href="http://ebookee.org/go/?u=http://rapidshare.com/files/276812001/My_Acoustic_Blues_Guitar.rar">Download HERE</a></u></b></span></div>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-3158976279407262924.post-91976174661139393182011-06-22T22:06:00.000-01:002011-06-22T22:06:17.073-01:00Basic Elements of Chord Symbols<br />
A chord symbol, such as CMaj7, usually contains three parts:<br />
<br />
• A pitch-letter (such as C) to indicate the key<br />
• The chord type of a major (Ma) or minor (m) key<br />
• The number that indicates the top note of the chord (6, 7, 9, 11, or 13)<br />
<br />
Normally, a chord contains the 1, 3, and 5 notes of the key plus one or more extensions<br />
(higher notes in the chord). For example, CMa7 contains the 1, 3, 5, and 7 of C Major (C, E,<br />
G, and B), while a CMa9 chord contains the 1, 3, 5, 7, and 9 of C Major (C, E, G, B, and D).<br />
A chord symbol can indicate any of the 12 keys, such as C#, D, Eb, E, etc.<br />
Building Major Chords<br />
A major chord has the 1, 3, and 5 degrees of a major scale. A major 7 chord has the 1, 3, 5,<br />
and 7; a major 9 chord has the 1, 3, 5, 7, and 9; and a major 6 chord has the 1, 3, 5, and 6.<br />
1.5 Spelling the 12 Major Chords<br />
The examples below show common major chord symbols you’ll see in chord progressions,<br />
along with their chord tones, or arpeggios. C is the example key used here.<br />
<br />
CMaj CMaj7 CMaj9 CMaj6<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-19600781502752615772011-06-20T00:52:00.001-01:002011-06-20T00:53:58.395-01:00Jazz fake books collection Download<br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-42410746931612875412011-06-19T15:24:00.001-01:002011-06-19T15:26:02.491-01:008 tips to Teach yourself Piano and a book to download- 8 dicas para Aprender Piano Sozinho com livro para Download<span class="Apple-style-span" style="color: #414141; font-family: Arial, Helvetica, sans-serif; font-size: 14px;"></span><br />
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1</div>
<b class="whb" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Find a <a href="http://www.wikihow.com/Buy-a-Piano" style="color: #336633; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Buy a Piano">piano</a> to use</b>. You may have one at home, or you may be able to find one somewhere else. You also need to make sure the piano is reasonably tuned. If your piano hasn't been played for ages, or has recently been moved, chances are, it's at least a bit out of tune. While the piano being a tiny bit off shouldn't matter much, if the piano is worse, you may want to have it tuned by a professional before going any further.<div class="clearall" style="clear: both; height: 0px; line-height: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
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2</div>
<b class="whb" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">If you're unable to find a piano, a keyboard is a great alternative</b>. They're affordable, never go out of tune, and have lots of sounds and features that can enhance your music. And higher end keyboard models sound just as good or better than many grand pianos. Not to mention they're a lot easier to move around and don't take up much space.<div class="clearall" style="clear: both; height: 0px; line-height: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
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3</div>
<b class="whb" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Acquire some prior musical knowledge</b>. Teaching yourself to <a href="http://www.wikihow.com/Play-the-Piano" style="color: #336633; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Play the Piano">play the piano</a> will be pretty much impossible if you haven't had some sort of professional teaching on some other instrument -- you need to know how to read and you need to understand <a href="http://www.wikihow.com/Appreciate-Music" style="color: #336633; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Appreciate Music">music</a>before you can teach yourself to play anything. It does not matter if the other instrument you can play is, say, a Bb <a href="http://www.wikihow.com/Play-the-Clarinet" style="color: #336633; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Play the Clarinet">clarinet</a> or an Eb <a href="http://www.wikihow.com/Play-the-Alto-Saxophone" style="color: #336633; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Play the Alto Saxophone">alto saxophone</a>, even though the piano is a C instrument. In fact, once you get better at the piano, you can do some really cool things if you play an instrument in another key.<a name='more'></a><div class="clearall" style="clear: both; height: 0px; line-height: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
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<li style="border-bottom-color: rgb(191, 191, 191); border-bottom-style: dashed; border-bottom-width: 1px; clear: both; line-height: 1.2em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 20px; padding-left: 80px; padding-right: 20px; padding-top: 20px;"><div class="step_num" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: url(http://pad1.whstatic.com/skins/WikiHow/images/header.png); background-origin: initial; background-position: -220px -80px; background-repeat: no-repeat no-repeat; clear: right; color: white; float: left; font-size: 1.45em; height: 31px; line-height: 31px; margin-bottom: 0px; margin-left: -50px; margin-right: 20px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: center; width: 31px;">
4</div>
<b class="whb" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Figure out which keys on the piano are which</b>. You can find a chart on the internet or in a book if you need to. Notice that there are two black keys, then a space, then three black keys, then a space, then two black keys... and so on. Starting from the note right to the left of the first of the set of two black keys, the natural notes are C, D, E, F, G, A, B, and then C again. The black keys between them are sharps and flats.<div class="clearall" style="clear: both; height: 0px; line-height: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
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5</div>
<b class="whb" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Invest in a few trusted piano method books</b>. Once you orient yourself on the piano keyboard purchase some practice method books, such as the ones by Hanon or Czerny. These will help you develop technique along with finger strength and dexterity. These exercises are a solid base upon which to build and all of your future playing will benefit from them. You may also find books such as the <a class="external text" href="http://www.johnhansonpianomethod.com/" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: url(http://pad1.whstatic.com/skins/common/images/external.png); background-origin: initial; background-position: 100% 50%; background-repeat: no-repeat no-repeat; color: #336633; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 13px; padding-top: 0px; text-decoration: none;" title="http://www.johnhansonpianomethod.com">John Hanson Piano Method</a> a great place to start.<div class="clearall" style="clear: both; height: 0px; line-height: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
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6</div>
<b class="whb" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Find some <a href="http://www.wikihow.com/Compose-Music" style="color: #336633; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Compose Music">music</a> to play</b>. You might be able to borrow some easy method books from friends or family, or you can go out and buy some. It may be easier to use books containing songs you know (such as common children's song or, no matter what time of year it is, holiday songs), so that you don't have to worry about rhythms, and you can just focus on notes. If you play a C instrument, you can also try playing some familiar music for that instrument. You can also do this if you play an instrument in another tuning, but it will sound like it is in a different key. Gradually learn to play the simple music, then maybe exercise your fingers by playing the same melody two different octaves with two different hands. Simple things like that can help a lot in the future. For some simple sheet music and introductory theory lessons see <a class="external autonumber" href="http://www.gmajormusictheory.org/Freebies/freebies.html" rel="nofollow" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: url(http://pad1.whstatic.com/skins/common/images/external.png); background-origin: initial; background-position: 100% 50%; background-repeat: no-repeat no-repeat; color: #336633; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 13px; padding-top: 0px; text-decoration: none;" title="http://www.gmajormusictheory.org/Freebies/freebies.html">[1]</a>.<div class="clearall" style="clear: both; height: 0px; line-height: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
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7</div>
<b class="whb" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Gradually move up to more difficult music</b>. You can also begin using your other hand to play a harmony or bass line part. For this, you can either find some piano music with a bass line on it (you will have to be able to read bass clef for this, though), or try purchasing some books with ensemble arrangements in them for other C instruments. If you do this, you can play the top line (melody) with your right hand, and then one of the one or more lines below that with the other hand (usually, in ensemble books with three parts for each song, the top line (or A part) is the melody, the second line (or B part) is the harmony, and the bottom line (or C part) is the bass line, which is usually more challenging). This may be difficult at first, but if you work hard, you'll sound really good once you get the hang of it.<div class="clearall" style="clear: both; height: 0px; line-height: 0; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
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<li class="steps_li final_li" style="border-bottom-color: rgb(191, 191, 191); border-bottom-style: dashed; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: both; line-height: 1.2em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 20px; padding-left: 80px; padding-right: 20px; padding-top: 20px;"><div class="step_num" style="background-attachment: initial; background-clip: initial; background-color: initial; background-image: url(http://pad1.whstatic.com/skins/WikiHow/images/header.png); background-origin: initial; background-position: -220px -80px; background-repeat: no-repeat no-repeat; clear: right; color: white; float: left; font-size: 1.45em; height: 31px; line-height: 31px; margin-bottom: 0px; margin-left: -50px; margin-right: 20px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: center; width: 31px;">
8</div>
<b class="whb" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Consider getting a <a href="http://www.wikihow.com/Be-a-Good-Piano-Teacher" style="color: #336633; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Be a Good Piano Teacher">piano teacher</a></b>. If you want to play piano as a career or seriously wish to go further into your playing, it is highly recommended that you do get a teacher, without one you may pick up many bad habits that will take years to unlearn. Also, basic music knowledge can only get you so far... eventually, to get good at the piano specifically, you'll need a teacher. It is very difficult to obtain a profession or high grade without an appropriate teacher/tutor. However, if you just enjoy playing for fun, there's no pressure to get professional tutoring.</li>
</ol>
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<span class="Apple-style-span" style="font-family: verdana, arial, helvetica, sans-serif; font-size: x-small;">But if you can´t get a piano teacher this easy-to-understand book will get you playing right away and at your own pace, in the comfort of your home! Teach Yourself to Play Piano covers everything from the basics of hand position and good posture to playing melodies and songs. By the end of the book, you'll be able to play hands together, using a combination of whole, half, quarter and eighth notes and their respective rests. You will also be able to read a selection of notes from both the bass and treble clefs, and you will be able to play some simple chords in the left hand. Don't wait any longer - there's never been an easier way to teach yourself piano!</span><br />
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<b><u><a href="http://www.4shared.com/document/FZ4NcCA3/Teach_Yourself_Piano__Bennett_.html?">Download HERE</a></u></b></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-61440470415980000592011-06-19T15:15:00.002-01:002011-06-19T15:16:56.201-01:00Chick Corea Keyboard Workshop Booklet Download<br />
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<a href="http://www.drumza.com/images/ChickCoreaKeyboardWorkshopDVD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.drumza.com/images/ChickCoreaKeyboardWorkshopDVD.jpg" style="cursor: move;" /></a></div>
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<span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chick Corea, one of the most influential keyboard players and composers in the history of jazz, provides insights into practicing, composing, and improvising. Features a brand-new piece composed, developed, and performed by a trio including John Patitucci, and Tom Brechtlein. Special features include bonus video performances, additional video tips, play-along video with printout, additional product previews, and Internet connectivity. </span></span></div>
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<span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><u><a href="http://www.4shared.com/document/rax2MhEW/Chick_Corea_-_Keyboard_Worksho.html?">Download HERE</a></u></b></span></span></div>
</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-29649559014184533022011-06-17T22:56:00.004-01:002011-06-17T23:01:33.310-01:00Creative Improvisation<div class="separator" style="clear: both; text-align: left;">
<a href="http://t3.gstatic.com/images?q=tbn:ANd9GcTrfFnyQm5sdMxOXreWOYvdKTH93Oo-NcUV43BV2Jpllqlqf_Q23A" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://t3.gstatic.com/images?q=tbn:ANd9GcTrfFnyQm5sdMxOXreWOYvdKTH93Oo-NcUV43BV2Jpllqlqf_Q23A" /></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Improvisation is the art of creating something quickly, with limited time to plan and with limited materials. To improvise, you need to make quick decisions and see relationships quickly, while you’re creating.</span></div>
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br />
<b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><u>Can Improvisation Be Pre-Determined?</u></span></b><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">By definition, improvisation is not pre-determined. For example, if you plan out all the notes of a solo and then play them, it’s a composition, not an improvisation. (In some cases that may be OK, such as for very short solos or recordings where a specific result is needed.) Here’s what you should study and plan ahead of time:</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">• The elements of the song to improvise to (chords, scales, rhythmic style, etc.)</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">• The basic mood and feeling of the song</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">• Song organization and chords (where the chords repeat or change)</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Here’s a common improvisation question: “Why can’t I plan ahead to use my best stuff?” The answer comes back as another question: “Am I trying to impress someone, or am I really trying to create musical ideas that capture each moment?” Focusing on “your best stuff” limits your vision so it’s harder to see ideas that may work better than your best stuff. Improvisation and the Creative Process Improvisation follows the steps of the basic creative process. However, you greatly speed up the creative steps and execute them in seconds or split-seconds. This is really the fun and scary foundation of improvisation; you make important decisions in each second of time, so the creation evolves and takes shape before your eyes. The Art of Improvisation helps you make your own improvisation decisions, quickly and successfully.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Here’s how the 5 creative steps are handled in improv:</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br />
<b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><u>Creative Step Jazz Improv Approach</u></span></b><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">1. Visualize what you want to create. Picture the chord symbol; see a melodic shape.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">2. Plan & design it. Choose the starting pitch for the melody; add rhythm.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">3. Understand your tools & materials. Pay attention to how the melody takes shape on your</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">instrument; watch for technical challenges in</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">fingering, air, positions, etc.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">4. Solve problems that arise. Work your way around technical/creative obstacles;</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">use mistakes as new ideas when possible.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">5. Analyze and improve the creation Picture and remember what you just played so you</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">can develop it or go on to something else.</span><br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-79185986632930922622011-06-17T10:37:00.003-01:002011-06-17T10:45:01.673-01:00Five Barriers to CreativitySometimes we stifle our creativity by limiting the way we think. Here are five common barriers to creativity:<br />
1) “There’s just one way to solve a problem.”<br />
2) “I need a new and unique solution, not one that’s borrowed or adapted.”<br />
3) “I don’t really understand the tools and materials.”<br />
4) “I just build, without planning or visualizing.”<br />
5) “My fears or ego interfere with creativity.”<br />
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Below are some ways to overcome these five barriers.<br />
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<u><b>Barrier 1:</b> <i>Only One Way to Solve a Problem</i></u><br />
When we try to solve a problem, sometimes our solution clicks and sometimes it doesn’t. When it doesn’t work, we should ask ourselves:<br />
• Are we trying to solving the right problem? We often try to solve the first problem we see or the easiest first.<br />
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• Are we solving this problem in the right order compared with other problems? Often the right solution out of sequence is just bad as the wrong solution.<br />
• Are we using the correct tools? If not, the solution may take much longer, or it may not be smooth or effective. You might use another tool in an unusual way to solve a problem.<br />
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<u><b>Barrier 2: </b><i>Our Creation Must Be All “New”</i></u><br />
We often think our creation must be totally new. Granted, we shouldn’t violate copyrights or patents, but our work can have small pieces or qualities that have been used many times in many other works. For example, artists use and reuse the same colors and media; musicians use and reuse the same 12 notes of the chromatic scale. So, much of the creative essence lies in how elements are combined, not in finding completely “new” elements. In each art form there are countless ways to combine elements and materials. Some combinations make no sense, some are very obvious, and some fit somewhere in between, with a wide range of meanings and beauty. Our task is to find the “beautiful” combinations to build our creation.<br />
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<u><b>Barrier 3:</b> <i>We Don’t Know Materials/Tools</i></u><br />
If we don’t know how to use our materials or tools, we can’t be creative in the art form. (We can still appreciate how someone else uses materials and tools. I appreciate painting, but I don’t paint well.) But using tools and materials doesn’t make us creative. It opens possibilities and removes barriers, but we’re still responsible to use tools and materials wisely, with imagination. Our knowledge unlocks creativity; our wisdom unleashes it. In every art form, some artists have limited technical skills, while others have great technical<br />
mastery. There are also art works that are:<br />
<br />
• Not technically sound and not creative. This is the weakest kind of art.<br />
• Technically sound but not creative. This kind of art is usually produced with much attention to detail but not enough attention to vision. The artist needs to see and try other combinations and possibilities, perhaps outside the traditional boundaries.<br />
• Creative but not technically sound. This is typical of younger artists who see possibilities but haven’t mastered materials and tools yet. I would rather be in this situation than in the “technically sound but not creative” one.<br />
• Creative and technically sound. This is what we strive for, remembering that technique serves creativity, not the other way around.<br />
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As artists, we strive to reach the level where we produce creative and technically sound art.<br />
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<u><b>Barrier 4:</b><i> We Don’t Plan or Visualize</i></u><br />
Some think creativity is blocking out all conscious thinking and “letting it fly.” On the contrary, logical thinking is an important part in creativity. The trick is to get your brain’s logical (left) side and creative (right) side to cooperate in the creative process. When the right side says “What if we try this?” the left side can say “Here’s some stuff to help you do that...” or maybe “I don’t think our ship can handle Warp 9, Captain.”<br />
Before you start creating, it’s important to:<br />
<br />
• Get a basic idea of what you are creating.<br />
• Know your audience’s expectations and your own.<br />
• Know space/time limitations on your creation.<br />
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The amount of planning may depend on how complex the creation is and what the art form is. Usually, static art forms such as painting and sculpture need more specific planning, where you visualize details before you begin. A real-time art form such as jazz improv or impromptu speaking requires more general planning. This means you collect details about what you can do, but you make most creative decisions as you are create.<br />
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<u><b>Barrier 5:</b> <i>We Let Fear and Ego Defeat Us</i></u><br />
We often fear these things when we try to create:<br />
• New or unexplored territory. Remember: new areas bring new adventure. If you’re prepared, new is good; if you’re not, new can be intimidating.<br />
• Thoughts of failure. Small mistakes don’t cancel out the rest of our creation. Most finished works still have small imperfections; many have even suffered through corrections of major mistakes. If we err, it should be in technique, not in the ideas we convey.<br />
• Criticism from our audience. What will the audience think? Actually, you must be solidly in touch with art, without an audience; then be ready for positive or negative feedback. Some of what they say may be wrong; some may be true but harsh; and some may be true and helpful. Screen and use audience feedback to improve your creations.<br />
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Our own egos can also block creativity. Competing for awards can focus us on arbitrary opinions instead of art. Or we can get into safe ruts, where we feel accepted and competent but where there’s no room for growth. Where art is a team effort, as in a musical group, the ego of one artist can cancel out contributions of others. To me, the truly great artist is the one who also realizes how much more could be done, then improves the creation next time.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-44075462346738774742011-06-16T09:43:00.001-01:002011-06-16T09:44:21.812-01:00Fazer Beats de Sucesso e manter orçamentoVamos chegar ao ponto. Nada sobre o mercado, vamos simplesmente para o hip hop especialmente para você. Você deve fazer o trabalho sozinho.
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Não importa quanto conhecimento e experiência que você ganha, não importa quantas batidas, samples e loops que você baixa, não importa o software ou hardware que você usa, você deve ter o talento para usar todas essas ferramentas e recursos para produzir material que bate no rádio e nos clubes.</div>
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Agora, com o que disse, há alguns produtos no mercado que são fascinantes, intuitivos e acima de tudo criativos inspiradores de usar. Determinar quais os produtos no mercado são adequados para a sua maneira de produzir música dependende de sua abordagem sobre a produção de áudio.</div>
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Fazer batidas com sucesso, com um baixo orçamento não é difícil. Ele pode ser ainda menor se você fizer as escolhas certas, usando qualquer software de produção de áudio ou hardware que você pretenda utilizar. Agora, se você é novo em fazer batidas, então é altamente recomendado lutilizar ferramentas e aplicativos que o ajudarão a começar a fazer seus instrumentais do jeito certo.<br />
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O ponto principal é para poder despertar a sua a criatividade e se inspirar com seu aplicativo de áudio escolhido o mais rapidamente possível após recebê-lo, então transferi-lo ou se inscrever para ter acesso on-line.</div>
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Produtos que funcionam de forma eficiente para produzir os seus beats é apenas uma parte do que é geralmente recomendado. É vantajoso usar produtos de empresas que oferecem um suporte ilimitado de tutoriais que são fáceis de compreender e aplicar.</div>
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Seus tutoriais deverão ser tanto em áudio como também em vídeo, baseado de modo que você possa confortavelmente acompanhar as técnicas que eles estão mostrando.</div>
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Suas dicas e guias devem ser aplicáveis e adequadas ao estilo de batidas que você deseja produzir. Sua produção também deve ser estruturada de forma que, logicamente, leva a um nível de entendimento. Em outras palavras, você deve sentir que você está crescendo no conhecimento de produção de áudio e de gravação, naturalmente, que a primeira lição apoie a segunda e assim por diante.</div>
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Outro aspecto para fazer hip hop, é que você deve considerar a qualidade do som de qualquer amostra ou loops incluídos em um pacote. Isso é crucial. O hip hop, juntamente como qualquer outro gênero de música, para ser lançado no mercado normal precisa de uma certa dose de singularidade criativa, qualidade de som e valor da produção. Se você usar os sons de menos qualidade, suas mixagens também serão menos interessantes.</div>
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Escolhendo um aplicativo que forneça beats com sons incriveis, samples e loops para uso dentro da aplicação que se configura com a capacidade de iniciar a produção, você terá um material que soa perfeito desde o início. Outra opção seria escolher um programa que permita que você trabalhe com seu próprio banco ou amostras e loops de terceiros.</div>
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De qualquer maneira, sons incríveis e de qualidade são vitais para a inspiração criativa, o que o deixa pronto para se preocupar apenas com a gravação e a produção.</div>
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Agora, se você quer começar a produzir hip hop, mas tem pouco ou nenhum equipamento e/ou nenhuma experiência, então eu sugiro que você verifique nosso curso online de Home Studio. Lá você vai aprender tudo relacionado a gravação, mixagem, masterização. Enfim, tudo que você precisa saber sobre produção musical está lá.</div>
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Talvez você já tenha algum equipamento e um conhecimento básico de produção de beats, ou até prefira desenvolver um estúdio de produção com suas próprias batidas, mas precisa de ajuda para começar, então é recomendado escolher um produto que te dê suporte e tutoriais fáceis de se entender.</div>
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Fonte: <a href="http://www.homestudiofans.com/home-studio/156-como-fazer-beats-de-hip-hop-de-sucesso-e-ainda-manter-o-orcamento-agradavel">Homestudio Fans</a></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-22389798686479906172011-06-12T23:27:00.000-01:002011-06-19T15:16:56.202-01:00The Improviser's Bass Method by Chuck Sher (Bass Method) Download<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.shermusic.com/new/images/0961470100.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.shermusic.com/new/images/0961470100.jpg" /></a></div>
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<strong>The most comprehensive bass method book ever published!</strong></div>
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A complete method book, over 200 pages, filled with information and exercises on all aspects of bass playing, for both acoustic and electric bass.</div>
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<b>Plus transcribed bass lines and solos by:</b></div>
<table border="0" cellpadding="0" cellspacing="0" style="text-align: left; width: 277px;"><tbody>
<tr align="left" valign="top"><td width="141"><div style="text-align: left;">
Eddie Gomez</div>
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Ron Carter</div>
David Friesen<br />Charles Mingus<br />James Jamerson<br />Ray Brown<br />Paul Jackson<br /></td><td width="136"><div style="margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span class="Apple-style-span">Scott LaFaro<br />Marcus Miller<br />George Mraz<br />Jaco Pastorius<br />Paul Chambers<br />Alphonso Johnson<br />Jimmy Garrison<br /><b>...and more!</b></span></div>
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<span class="Apple-style-span"><b><a href="http://www.4shared.com/file/25EzXkZI/The_Improvisers_Bass_Method_by.html">Download HERE</a></b></span></div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-60848273749243892042011-06-12T14:54:00.001-01:002011-06-12T14:55:14.849-01:00Creativity<br />
The principles of creativity and improvisation can be understood, learned, and applied. Some people think you’re either born creative or you’re not, and that you can’t really develop creativity. I firmly believe otherwise: if you want to develop creativity and you learn the creative process, you can definitely be more creative. The issue isn’t whether you’ll become a creative genius, but how well you’ll develop your own creative gift. As you read this chapter, think of how the creative process can apply to your own jazz improvisation.<br />
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<b><i>The Creative Process</i></b><br />
Creativity is the art of organizing things or ideas in a useful or unusual way. You can use the creative process to do the following things, for example:<br />
• Make one or more objects from available materials, such as a musical phrase from individual notes.<br />
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• Enhance or improve an object or situation, such as doing an extra take on a recorded solo.<br />
• Solve a problem, such as finding notes to play with a given chord.<br />
Notice that these tasks involve making something out of something. It’s not a question of pulling a creation out of “thin air;” it’s a question of organizing and combining existing materials to create what you want.<br />
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<b><i>Steps in the Creative Process</i></b><br />
Whether you build something practical, artistic, or both, you can follow these steps in the creative process:<br />
1) Visualize what you want to create.<br />
2) Plan and design your creation.<br />
3) Understand what your building materials and tools are and how to use them.<br />
4) Solve problems that arise in the planning, designing, and building steps.<br />
5) Analyze what you create to find improvements.<br />
Depending on the art form or project, you may execute these steps slowly or quickly, but you should use them in the above order to get the best results.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-43575910557497982082011-06-12T14:50:00.000-01:002011-06-12T14:50:14.531-01:00Learning Values through Improvisation<br />
Learning to improvise and interact musically can build rich experiences and positive values<br />
in your daily life. Here are five of life’s values that the art of improvisation can strengthen:<br />
<br />
<b>1) Discernment and wisdom</b><br />
<b>2) Integrity</b><br />
<b>3) Leadership</b><br />
<b>4) Informed risks</b><br />
<b>5) Diversity</b><br />
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<b><i>#1: Discernment and Wisdom</i></b><br />
Improvising opens up a potential floodgate of notes and ideas. Exploring and controlling these musical ideas requires discernment and wisdom. First, you use discernment to recognize chords, rhythms, melodic shapes, and other elements as they emerge in the music. Then you develop wisdom as you learn:<br />
• When to speak up musically and when to be silent<br />
• When and how to copy, change, or support the ideas of other players<br />
• How to fully develop musical ideas to interesting conclusions<br />
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<b><i>#2: Integrity</i></b><br />
As you learn to improvise, you’re faced with issues of musical integrity such as these:<br />
• Do I pursue musical excellence and new territories, or do I stay in a comfortable rut?<br />
• Do I keep my ego in perspective, or do I inflate my self-importance or get paralyzed in<br />
self-criticism?<br />
• Do I treat others with honesty and compassion, or do I walk on them to get to the top?<br />
Music and the music business often seem at odds with each other, but they’re both great<br />
places to practice musical and personal integrity.<br />
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<b><i>#3: Leadership</i></b><br />
In improvisation you sometimes lead with musical ideas, and you sometimes follow by supporting the ideas of other players. In accomplished groups, this interplay of teamwork can be astonishingly good. In basketball you feed the hot shooter on the team, whoever it is; in a company, you promote good ideas from any employee; in jazz you let good ideas roll. To lead, you need to connect the past and the present. In the immediate past, you need to analyze what’s been going on in a tune and how it shapes present and future ideas. Farther back, the recordings of jazz greats can provide you with new insights in your own playing.<br />
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<b><i>#4: Informed Risks</i></b><br />
In the high-wire act of improvisation there are sometimes spills, but there are also breathtaking moments of adventure. Improvisation helps you weigh issues of courage vs. Safety and risk vs. restraint. When you come to a workable balance, the rewards are high!The key to success is taking informed, not blind risks.<br />
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<b><i>#5: Diversity</i></b><br />
As you improvise in a jazz group, you learn:<br />
• How to appreciate and value others’ viewpoints<br />
• When to specialize or diversify your skills<br />
• How to learn from others’ strengths and mistakes.<br />
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A boring world is one where everyone thinks as we do. We can learn something from everyone, even if it’s just what not to do in music or life<i>.</i><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-66604157743733650792011-06-12T14:32:00.003-01:002011-06-12T14:56:33.517-01:00The Seven Elements of ImprovisationThe Seven Elements of jazz improvisation have initials that conveniently spell out “MR. ED, CPA:”<br />
<br />
1) M elody<br />
2) R hythm<br />
3) E xpression<br />
4) D evelopment<br />
5) C hord progressions<br />
6) P erformance<br />
7) A nalysis<br />
<br />
These initials should be pretty easy to remember. As you work on the seven elements in your daily practice, you’ll create exciting, artistic solos. These Seven Elements are the foundation of each of the Five Levels of improvisationUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-30008205562467046792011-06-11T00:02:00.008-01:002011-06-12T14:50:41.911-01:00Classical Composition, language, comedy and Improvisation<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Traditional (“classical”) musical</b> composition and jazz improv have interesting similarities and contrasts.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<b><i><u><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Classical Composition</span></u></i></b><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">1) Write pitches and rhythms before a performance.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">2) Use chromatic scale pitches and duple- and triple-meter rhythms.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">3) Develop melodies using specific techniques.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">4) Have the musical skills to hear and perform the written notes.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">5) Use common forms, structures (4-bar, 8-bar, etc.).</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<b><i><u><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jazz Improvisation</span></u></i></b><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">1) Select pitches and rhythms during a performance.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">2) Use chromatic scale pitches and triple- and duple-meter rhythms.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">3) Develop melodies using specific techniques.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">4) Have the musical skills to hear and perform the notes you imagine.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">5) Use common forms, structures (4-bar, 8-bar, etc.).</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Language and Improvisation</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jazz improv is like impromptu speaking, so improv </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">and spoken language have many </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">similarities:</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><i><u>Language</u></i></b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">1) Learn grammar and syntax.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">2) Build a strong vocabulary.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">3) Develop thoughts to a logical conclusion.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">4) Communicate with the listener through words.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">5) Use good conversational skills.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">6) Balance talking vs. listening.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><u><i><b>Jazz Improvisation</b></i></u></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">1) Learn scales, chords, music theory (music syntax).</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">2) Store up musical ideas (music vocabulary).</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">3) Develop musical ideas to a conclusion.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">4) Communicate with the listener via musical ideas.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">5) Interact musically with your performing group.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">6) Balance playing vs. listening.</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Standup Comedy and Improvisation</b></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Standup comedy and improvisation are similar, except that comedy isn’t pretty and</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">improvisation isn’t funny.</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-51601527494234678412011-06-10T11:53:00.000-01:002011-06-12T14:50:41.912-01:00Definitions of Improvisation<div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Musicians have been improvising jazz for a long time. Below are some typical definitions of jazz improv, with some common questions raised by each definition.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Definition A:</b> Jazz improv is making up music as you go.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Question 1: </b>So how do you make it up?</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Question 2:</b> What makes it sound good or bad?</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Definition B: </b>Jazz improv is choosing notes to fit chords.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Question 3:</b> What are notes?</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Question 4:</b> What are wrong notes?</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Definition C:</b> Jazz improv is musical communication.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Question 5:</b> Who communicates?</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Question 6:</b> What do you communicate and how?</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><br />
<div style="text-align: left;"><u><b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Q1: How Do You Make It Up?</span></b></u></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Improvising is creating music on the spot, but you don’t improvise </span></div><a name='more'></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">out of thin air. With the </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">12 chromatic pitches (C, C#, D, Eb, etc.) you can get unlimited combinations by changing:</span><br />
<div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">• The order of the pitches</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">• The range of the pitches (higher or lower octaves)</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">• The rhythms and expressions used</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">• The way pitches are repeated or varied</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Remember: creativity is more a matter of organization and expression than finding “newness.” </span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><b><u><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Q2: What Makes It Good or Bad?</span></u></b></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Your definition of bad, good, or great solos will change and mature as you learn more about </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">the art of improvisation. When you discover how and why musical ideas fit together, solos </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">that at first sound too simple may reveal their hidden beauty, while solos that seem too </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">complicated may actually be a wonderful collection of smaller ideas. On the other hand, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">solos that sound impressive at first may be long on technique and short on creative ideas. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When you recognize the Seven Elements of improvisation in your own solos and in </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">recordings, you can make significant progress in your improvisation. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Bad Habits of Improvisation </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">You should avoid common bad habits of weak improvisation:</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">• Continually trying to play higher, faster, and louder, leading down a dead-end street.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">• Playing too many new ideas instead of building on some of the musical ideas you have</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">already played.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">• Getting locked into the same ideas, same pitches, same rhythms, and same expression</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(or lack of it).</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><b><u><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Q3: What Are Notes?</span></u></b></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Dumb question. Or is it? A note is more than just a pitch: it also has rhythmic placement and </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">musical expression. A note can be played many different ways, and a group of notes can have </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">countless variations. Sadly, many improvisers get wrapped up in finding the next “golden </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">pitch,” thinking little about the rhythms, expression, and development that would turn </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">those pitches into artistic improvisation.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><b><u><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Q4: What about Wrong Notes?</span></u></b></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Is a wrong note one you didn’t intend to play? Often you can build a musical idea around an </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">unintended note so it sounds intended. If that doesn’t work, at least you can go on with the </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">rest of your idea (instead of moaning after a “wrong” note). </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Is a wrong note one that doesn’t fit the current chord symbol? Actually, any of the 12 </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">pitches can be played against any chord; each pitch is either a chord tone (consonant), a </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">chord extension (somewhat dissonant), or a non-harmonic tone (dissonant). The real issue </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">is handling those notes so they sound like they belong. That way, there aren’t right and </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">wrong pitches, just better or worse ones for the current chord and idea. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A “wrong” note could simply be a boring one. This book help you choose pitches, rhythms, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">expressions, and musical ideas to make your solos more interesting.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><br />
<div style="text-align: left;"><b><u><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Q5: Who Communicates?</span></u></b></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As you improvise, you first communicate with yourself. You hear chords, select and play </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">notes, and decide whether to build upon what you just played or try something new. This </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">takes practice, concentration, and quick reflexes so your solo can be what you want and how </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">you want it, without slowing the music down. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Next, you communicate with the other members of your group. Your improv decisions are </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">affected by what they play, and vice versa. This book contains many helpful ideas on how </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">you can establish good communication in your jazz group (Chapter 4G: Group Interaction). </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Finally, you communicate with your listener. Usually, this works well if you’re </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">communicating with yourself and with your group members. But don’t try to guess what </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">your audience wants to hear. Tell them your own story from your heart and mind. (For </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">more about live performance psychology, see Chapter 3H: Soloing Live.)</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><b><u><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Q6: What Do You Communicate and How?</span></u></b></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">You communicate by how you play and develop your musical ideas. Just like conversation, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">you have to balance what you say with how much you say and when you say it, so you can </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">communicate something truly interesting. Remember: quantity doesn’t equal quality. The </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">economy of your melodies and the context of your musical ideas make a huge difference in </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">your improvisation.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jazz Improvisation and Other Arts</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jazz improvisation is like other art forms, such as painting, classical composition, language, </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">and standup comedy.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Painting and Jazz Improvisation</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Improvising is much like painting with sound, but without erasing, touch-ups, or </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">corrections; what you paint the first time is what you get.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><u><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Painting</span></u></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">1) Organize lines, shapes, colors in a space (canvas).</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">2) Balance and contrast filled and empty spaces.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">3) Use foreground and background objects.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">4) Balance unity and variety.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">5) Contrast dark and light, thick and thin textures.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">6) Use artistic tools and skills wisely.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">7) Combine acute vision and imagination.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div><div style="text-align: left;"><u><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jazz Improvisation</span></u></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">1) Arrange sounds (melodies and rhythms) in the space of time.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">2) Balance sound and silence.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">3) Solo in the foreground, accompany in the background.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">4) Develop with repetition and contrast.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">5) Contrast high/loud/fast with low/soft/slow, use group or individual solos.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">6) Use musical tools and skills wisely.</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">7) Combine acute musical hearing and imagination.</span></div>Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-3158976279407262924.post-15995836975964873922011-06-10T11:31:00.007-01:002011-06-12T14:50:41.912-01:00Jazz Improvisation Myths<div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Let’s begin by discussing what jazz improvisation isn’t. Here are four common myths about</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">jazz improv:</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">1) “Jazz improv is something you’re born with, not something you learn.”</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">2) “Jazz improv requires perfect pitch.”</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">3) “You can’t practice without an instrument.”</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">4) “Classical and jazz have little in common.”</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><u>Myth #1: You’re Born With It</u></b></span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Although jazz improv is a universal language, we’re not born with it. But almost anyone can </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">learn basic improv skills (listening, ear training, theory, instrumental or </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">voice techniques); </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">some people learn faster than others. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Some very good improvisers start later in life, but all good improvisers pay their dues by </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">studying the works of the</span></div></div></div><div style="text-align: justify;"><a name='more'></a><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">great jazz soloists. You need to constantly develop your listening </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">skills, your sound and technique, and your desire to create better solos, or your progress will </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">be blocked from time to time.</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><u>Myth #2: You Need Perfect Pitch</u></b></span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">You don’t need perfect pitch (although it usually doesn’t hurt). But you do need good relative </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">pitch, to recognize and remember intervals you hear. Accurately hearing intervals is one of </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">the keys to improvisation; it’s a skill you can gain and develop. It can be as simple as </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">matching pitches with a keyboard or recording, or as involved as a full-fledged ear-training </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">course. Unfortunately, many improvisers don’t spend adequate time developing relative </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">pitch, so they hit roadblocks in hearing and creating ideas. The Art of Improvisation gives </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">you plenty of material for developing good relative pitch.</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><u>Myth #3: You Can’t Practice Without Your Instrument</u></b></span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">So what’s your instrument? The most neglected but perhaps most powerful jazz instrument </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">is the human voice. Jazz instrumentalists who know how to practice vocally can practice </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">longer hours (such as in the car, in the shower, etc.) and can try new melodies and rhythms </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">that are difficult at first on an instrument. Vocal practice can include humming, whistling, or </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">just mentally hearing the notes you want to improvise.</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It’s important to know how to practice improv vocally, even if you’re a “bad” singer. (You </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">may even improve your voice in the process.) Singing or humming improv lines lets you </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">concentrate on capturing pitches and rhythms without fighting an instrument; then you can </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">transfer the vocal ideas to your instrument later. This book shows you how to use the </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Virtual Practice Method to help you practice improvisation vocally and instrumentally.</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><u><b>Myth #4: Classical and Jazz Don’t Mix</b></u></span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div></div></div><div style="text-align: justify;"><div style="text-align: center;"><div style="text-align: left;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Actually, they do mix; jazz and classical music have some similar elements. There are some </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">very interesting parallels in the histories of classical and jazz musics. Understanding these </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">parallels enriches your improv skills, helps you play the right styles for the right tunes, and </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">helps you appreciate music of great jazz improvisers. This is a strong hint for the importance of </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">studying jazz history. Here are the historical parallels, with times and composers:</span></div></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-57550667488810822292011-06-09T12:51:00.008-01:002011-06-19T15:16:25.051-01:00Horacio el Negro - conversation in Clave Download<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAl30kAttFPSC9NIHdxvG3o2MpJ1EciZJ2GqjfhAdo3ujsDTT8Am656pMxhDccja7dP2vdVb4PYNjLSKTHjpXozUINhu4xQjsNtzvrmjPIu0iVd9g0Ew2WLjTC0nhpIjT85DI3-ekFju0/s200/_Horacio+el+Negro+-+Conversations+in+Clave+%23413.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAl30kAttFPSC9NIHdxvG3o2MpJ1EciZJ2GqjfhAdo3ujsDTT8Am656pMxhDccja7dP2vdVb4PYNjLSKTHjpXozUINhu4xQjsNtzvrmjPIu0iVd9g0Ew2WLjTC0nhpIjT85DI3-ekFju0/s200/_Horacio+el+Negro+-+Conversations+in+Clave+%23413.jpg" style="cursor: hand; cursor: pointer; display: block; height: 200px; margin: 0px auto 10px; text-align: center; width: 138px;" /></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"></span><br />
<div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><span class="bigbold" style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: 16px; font-weight: bold;"><b>Learn to Hear</b></span><br />
El Negro tells us that coordination is more than just playing patterns, it's the ability to "hear multiple rhythms from multiple sound sources at the same time. This is, in fact, the key to high level drum set and percussion performance." I heartily agree. Although in the beginning you need to practice certain patterns to be able to develop four-way coordination, eventually you should get to the point where you can play absolutely anything that comes to mind. To that end, this book is divided into eight main sections and</span></div><a name='more'></a><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"> includes a 65-track audio CD. Let's check out each section, one by one.</span><br />
<div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><span class="bigbold" style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: 16px; font-weight: bold;"><b>Part 1: Fundamental Concepts of the Clave Rhythm</b></span><br />
This section teaches the four basic clave patterns in Cuban music. It also explains the combination phrasing that El Negro plays so well (switching from four feel to six feel). This section breaks down these patterns so you can easily understand and practice how to superimpose duple and triple meter over an ostinato clave pattern.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><span class="bigbold" style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: 16px; font-weight: bold;"><b>Part 2: Achieving Dexterity With the Clave Rhythm</b></span><br />
This section is further subdivided into two main sections:</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">1) Technical Exercises: Rhythmic Permutations with the Rumba Clave - Includes exercises to develop your coordination and musical phrasing. The clave is played with the right hand, hi-hat is played with the foot on the initial downbeat of each measure, and they're both played against left hand variations (using one-note to seven-note patterns). Reversing the hand parts around is also recommended.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">2) Creative Exercises: Melodic Permutations with the Rumba Clave - Contains examples of how to treat the clave rhythm as a melody and play it using different sound sources.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><span class="bigbold" style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: 16px; font-weight: bold;"><b>Part 3: Fundamental Concepts of the Cascara Rhythm</b></span><br />
This section covers the cascara, which is the basic "ride" pattern in Cuban music. In a percussion section, this pattern would usually be played on a timbale shell but drum set players could play it on a drum shell, cowbell, cymbal bell, etc.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><span class="bigbold" style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: 16px; font-weight: bold;"><b>Part 4: Achieving Dexterity With the Cascara Rhythm</b></span><br />
This section follows the same structure as Part 2 except that it uses the cascara rhythm.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">1) Technical Exercises: Rhythmic Permutations with the Cascara - Includes exercises to develop your coordination and musical phrasing. Cascara is played with the right hand, the hi-hat is played with the foot on the initial downbeat of each measure, and they're both played against left hand variations (using one-note to seven-note patterns). It's also recommended to reverse the hand parts.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">2) Creative Exercises: Melodic Permutations with the Cascara. Four options are given for practicing this section:</span></div><ul><li class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">Right hand plays rumba clave while left hand plays melody.</span></li>
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">
<li class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">Left hand plays rumba clave while right hand plays melody.</li>
<li class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">Right hand plays cascara while left hand plays melody.</li>
<li class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;">Left hand plays cascara while right hand plays melody.</li>
</span></ul><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">3) Applications In Improvisation: This new subdivision gives you examples of how to improvise both the rhythmic line and the melodies.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">Let's talk a look at the remaining four sections of the book.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><span class="bigbold" style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: 16px; font-weight: bold;"><b>Part 5: Fundamental Concepts of Afro-Cuban 6/8 Clave</b></span><br />
This section follows the same structure as the prior clave and cascara sections except that it concentrates on the Afro-Cuban 6/8 clave.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">1) Technical Exercises: Rhythmic Permutations with the Afro-Cuban 6/8 Clave - Includes exercises to develop your coordination and musical phrasing. Afro-Cuban 6/8 clave is played with the right hand, the hi-hat is played with the foot on the initial downbeat of each measure, and they're both played against left hand variations (using one-note to five-note patterns). Reversing the hand parts is also recommended.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">2) Creative Exercises: Melodic Permutations with the Afro-Cuban 6/8 Clave - Four options are given for practicing this section using two of the most common Afro-Cuban 6/8 Clave patterns.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">3) Applications In Improvisation: This subdivision gives you examples of how to improvise both the rhythmic line and the melodies.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">4) Variations for 6/8 Rhythms: Variations of cowbell ride, bass drum, and hi-hat patterns for 6/8 rhythms. It's also recommended that you apply these to all of the previous exercises in this section.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><span class="bigbold" style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: 16px; font-weight: bold;"><b>Part 6: Advanced Systems</b></span><br />
Introduces three- and four-limb ostinato patterns with a variety of rhythmic combinations, divided into 3 basic subsections:</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">1) Technical Exercises - Consists of preparatory patterns and combinations that will give you the coordination required to perform the more advanced exercises that follow.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">2) System Exercises - Contains 15 examples of applying left hand variations to various ostinato hi-hat, bass drum, and right hand patterns.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">3) Creative Exercises - The final part of this section gives you some tips on applying what you've learned in a musical way and shows you how to combine the previous 15 System Exercises with Melodic Exercise Master Sets (shown later in Part 8) for a thorough coordination study.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><span class="bigbold" style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: 16px; font-weight: bold;"><b>Part 7: Groove Transcriptions</b></span><br />
These are transcriptions of some of Horacio's patterns offered as examples to help you develop your own grooves. Includes: 6/8 grooves for the drum set, Guaguanco, Mambo, Congo and Comparsas, Cascara, Macuta, Cha Cha Cha, Merengue, Songo, Mozambique, and a couple of grooves transcribed from recordings. Horacio explains that you should not "copy the grooves and leave it at that. You'll never reach your maximum potential as a player if you do not develop your own voice and style." Excellent advice.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><span class="bigbold" style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: 16px; font-weight: bold;"><b>Part 8: Supplemental Materials</b></span><br />
The final section of the book is divided into three subdivisions, as follows:</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">1) Left-hand Variations: Master Sets - All variations, from one- to seven-note, are reproduced here for convenience in practicing. Also recommended is the application of these patterns to all of the systems in Part 6.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">2) Melodic Exercises: Master Sets - All are reproduced here for practice purposes, along with the recommendation that they be applied to all of the systems in Part 6.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">3) Selected Discography - A listing of selected recordings of Horacio appearing with such artists as Tito Puente, David Sanchez, Santana, Giovanni Hidalgo, Gary Burton, and many more.</span></div><div class="bodystyle" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><span class="bigbold" style="color: black; font-family: Arial, Helvetica, sans-serif; font-size: 16px; font-weight: bold;"><b>The Conversational Bottom Line</b></span><br />
El Negro's book/Audio CD <b>Conversations In Clave</b> is also available in DVD format, which are perfect together. The DVD allows you to see and hear what he's doing, while the book and accompanying audio CD breaks it down into easily digestible pieces. If you're an intermediate or advanced player who is interested in Afro-Cuban music, four-way coordination, or both, you'll be sure to find something of value here. Considering that the DVD retails for $29.95 and the book/audio CD retails for $26.95, you're getting a wealth of information for about the price of one professional drum lesson. In my opinion, El Negro has done a great job and <b>Alfred Publishing </b>deserves credit for releasing two more high-quality products for us DrumHeads to enjoy. Check them out.</span></div><br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-56833973055552614282011-06-08T22:53:00.001-01:002011-06-09T14:06:42.719-01:00Improvisando sobre a Progressão Harmônica<span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;"></span><br />
<div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Uma vez que você tenha alguma ideia da associação entre as cifras dos acordes e as escalas, e como desenvolver uma linha melódica, você pode começar a improvisar sobre progressões harmônicas. Em situações de palco, a seção rítmica estará delineando as progressões harmônicas no tempo, enquanto você toca linhas melódicas improvisadas baseadas nas escalas que lhe são associadas. Geralmente haverá mudança de acorde a cada compasso, e você precisa ficar trocando de escala para acompanhar. Entretanto, você não deve pensar um acorde de cada vez. Você deve ficar tentando construir linhas que levem </span></div><a name='more'></a><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">de um acorde ao próximo.</span><br />
<div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">A terça e a sétima de cada acorde são as notas que mais definem o som do acorde. Se você enfatizar essas notas em sua improvisação, vai ajudar a garantir que suas linhas melódicas vão implicar a progressão harmônica com precisão. Por outro lado, se você enfatizar os outros tons da escala, pode adicionar uma riqueza harmônica aos sons. Você também é livre para usar notas que nem sequer estejam na escala. Músicos de bebop geralmente usam uma técnica chamada "<i>enclosure</i>", em que uma nota alvo é precedida por notas meio tom abaixo e acima, algo como uma apojatura sucessiva. Isso é relacionado à ideia de uma nota sensível, exceto que, no enclosure, o cromatismo é usado para enfatizar ou retardar uma nota específica, em vez de para conectar duas outras notas. Outros tons de fora da escala podem ser utilizados quando você achar interessante.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Embora haja muitas progressões harmônicas, há umas poucas peças fundamentais que representam muitas das progressões que você verá. Se você familiarizar-se com essas mudanças básicas, estará bem encaminhado para conseguir tocar sobre qualquer conjunto de progressões que possa aparecer no seu caminho. Os músicos devem praticar as progressões harmônicas descritas abaixo em todos os doze tons para ganhar a maior fluência possível. Você pode tentar alguns fraseados específicos nessas progressões, mas o mais importante é que você deve simplesmente explorar muitas ideias diferentes sobre cada progressão de modo que torne-se confortável improvisar verdadeiramente sobre elas, em vez de simplesmente tocar fraseados prontos com os quais se sinta confortável naquele tom. Você deve experimentar diferentes abordagens e aprender como encaixar sua escolha de notas para um dado tipo de acorde numa determinada situação para a sonoridade que você está tentando alcançar.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Além de ler sobre esses conceitos, você deve buscar ouvir especificamente essas técnicas sendo aplicadas por outros músicos. Os músicos de jazz mais populares dos anos 50 são um bom ponto de partida. Nomes como Miles Davis, Clifford Brown, Sonny Rollins, John Coltrane, Cannonball Adderly, Art Pepper, Red Garland, Hank Jones, Herb Ellis, Joe Pass, Paul Chambers e Ray Brown. Qualquer álbum dessa época com um ou mais desses músicos é recomendado para se aprender a respeito de improvisação sobre progressões de acordes.</span></div><h2><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">ii-V</span></h2><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">A progressão de acordes mais importante do jazz é a ii-V, que pode ou não resolver em I. A maioria das músicas tem progressões ii-V em vários tons espalhadas por ela. Por exemplo, tomemos a seguinte progressão de acordes:</span></div><pre><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">| Cmaj7 | Dm7 G7 | Em7 | A7 | Dm7 | G7 | Cmaj7 |. </span></pre><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;"><br />
Há três progressões ii-V aqui. O compasso 2 forma um ii-V no tom de Dó, embora não haja o próprio acorde C (I) no compasso 3. Os compassos 3 a 5 formam um ii-V-I no tom Ré Menor, e os compassos 5 a 7 formam um ii-V-I em Dó novamente. Há muitos expedientes que podem ser usados quando se toca sobre progressões ii-V. Alguns deles estão descritos abaixo.</span></div><h3><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Tonalidade Maior</span></h3><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Numa tonalidade maior, a progressão ii-V-I consiste de um acorde de sétima menor, um acorde de sétima da dominante, e um acorde de sétima maior. As primeiras escolhas de escala que você aprendeu para esses acordes são a dórica, a mixolídia, e a maior. No tom Dó, os acordes são Dm7 - G7 - Cmaj7, e as escalas associadas serão então Ré Dórico, Sol Mixolídio, e Dó Maior. Como pode ter notado, esses são todos modos da mesma escala Dó Maior. Por isso quando você vê uma progressão ii-V numa tonalidade maior, pode tocar a escala maior do acorde I em toda a progressão. Isso deixa um tanto mais fácil construir linhas que conduzam de um acorde ao próximo, ou transcendam os acordes individuais. Esse tipo de progressão, em que as escalas associadas com cada um dos acordes são todas modos de um deles, é chamado de progressão diatônica. Embora seja fácil tocar sobre progressões diatônicas, elas podem rapidamente ficar maçantes, já que você está tocando as mesmas sete notas durante um grande período de tempo. Você pode adicionar um pouco de variedade usando uma das outras escalas associadas com cada acorde, como Ré Menor, Sol Bebop Dominante e Dó Lídio.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">A maneira mais comum de aumentar o interesse numa progressão ii-V é alterar o acorde da dominante (V). Geralmente a alteração já vai estar especificada para você, mas mesmo quando não estiver, você geralmente, tem a liberdade de acrescentar alterações a acordes da dominante. Ajuda se o solista e os acompanhantes estiverem tocando as mesmas alterações, mas isso nem sempre é prático quando se improvisa, a menos que seu acompanhante tenha ouvidos incríveis e consiga notar as alterações que você estiver fazendo, e de qualquer maneira isso não é na verdade tão importante assim.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">No tom de Dó, você pode substituir o acorde G7 por um G7#11, um G7alt, um G7b9b5, ou um acorde G7+, os quais ainda preenchem a função de dominante em Dó, mas implicam escalas diferentes. Por exemplo, se você escolher G7#11, a progressão então vira Ré Dórico, Sol Lídio Dominante, Dó Maior.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Outra alteração possível à dominante é chamada de substituição pelo trítono. Isso significa substituir o acorde da dominante por um acorde de sétima da dominante a um trítono de distância. No tom de Dó, isso significa substituir o G7 por um Db7. Pode parecer estranho, mas há alguns motivos muito bons pelos quais isso funciona. A terça e a sétima de um acorde são as duas notas mais importantes na definição da sonoridade e da função de um acorde. Se você olhar um acorde Db7, verá que ele contém Ré Bemol, Fá, Lá Bemol, e Si, que são respectivamente b5, 7, b9, e a 3 de um acorde G7. A terça e a sétima do acorde G7 (Si e Fá) tornam-se a sétima e a terça do acorde Db7. Assim, o Db7 é muito similar a um acorde G7b9b5 em sonoridade e função. Além disso, a resolução melódica de Ré Bemol para Dó no baixo é muito forte, funcionando quase como um tom de passagem.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Uma vez que você tenha feito a substituição do acorde, pode então tocar qualquer escala associada com o acorde Db7, resultando por exemplo numa progressão de Ré Dórico, Ré Bemol Mixolídio, Dó Maior. Usar uma outra escala que não a mixolídia vai gerar algumas coisas surpreendentes. Tente uma escala Ré Bemol Lídia Dominante, que implica um acorde Db7#11 para a dominante substituta. Parece ou soa familiar? É o que deve, porque as escalas Ré Bemol Lídio Dominante e Sol Alterado são ambas modos da mesma escala Lá Bemol Menor Melódica. Quando você toca linhas baseadas em Ré Bemol Lídio Dominante, está tocando linhas que também são compatíveis com Sol Alterado. Por outro lado, Ré Bemol Alterado e Sol Lídio Dominante são ambos modos da mesma escala Ré Menor Melódica, e podem ser usadas indistintamente. Além disso, as escalas diminutas semitom-tom de Ré Bemol e Sol são idênticas, do mesmo modo que as respectivas escalas de tons inteiros. Esses são outros motivos pelos quais a substituição pelo trítono funciona tão bem.</span></div><h3><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Tonalidade Menor</span></h3><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Progressões ii-V numa tonalidade menor geralmente não sofrem do problema de soar muito diatônicas. Como a menor harmônica é normalmente usada para gerar progressões de acordes na tonalidade menor, uma progressão ii-V em Lá Menor pode consistir de | Bm7b5 E7 | Am-maj7 |. Se tentarmos montar um acorde de nona a partir do E7, veremos que o Fá natural no tom de Lá Menor Harmônico gera um acorde E7b9. Sem muita alteração especial, essa progressão pode implicar uma Si Lócria, Mi diminuta ST, e Lá Menor Melódica. Essas escalas são ricas o bastante para não precisar de alterações adicionais.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Entretanto, a maioria das mesmas técnicas usadas na tonalidade maior podem ser usadas numa tonalidade menor também. Podemos usar as escalas menores melódica ou harmônica a partir do acorde i, ou a escala bebop maior a partir de sua relativa maior, sobre toda a progressão. Podemos usar uma variação diferente do acorde E7, como E7alt ou E7+, ou até mesmo E7sus; podemos fazer uma substituição pelo trítono que vai gerar um Bb7; e assim por diante. Podemos também substituir os acordes ii, por exemplo, usando a escala lócria com segunda maior, ou substituir o Bm7b5 por um acorde Bm7 normal, em que o Fá Sustenido vem do tom Lá Menor Melódico em vez do Lá Menor Harmônico. Se fôssemos montar um acorde de nona, o Dó natural no tom Lá Menor Melódico geraria um acorde Bm7b9, que implica uma escala Si Frígia. Podemos até trocar o acorde Bm (ii) por um acorde B7 (II), especialmente um acorde B7alt, que contém o Ré do acorde Bm. Podemos também alterar o acorde i, substituindo-o por um acorde Am7 simples, e usar qualquer das várias possíveis escalas associadas com esse acorde, como Lá Menor, Lá Frígia, Lá Menor Pentatônica, e assim por diante.</span></div><h2><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Blues</span></h2><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">O termo "blues" é um tanto sobrecarregado, descrevendo tanto um estilo geral de música e uma categoria mais específica de progressões harmônicas, como também seu sentido coloquial de um sentimento de tristeza ou melancolia, como na frase "I've got the blues" (Estou triste). O blues como um estilo tem uma rica história que está além do escopo desta Introdução. A forma básica de blues de 12 compassos foi mencionada anteriormente. Em sua forma original, ainda tocada geralmente na música rock e R&B, somente três acordes são usados: o acorde I, o acorde IV, e o acorde V. A progressão básica do blues é a seguinte:</span></div><pre><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">|| I | I | I | I | que, || F | F | F | F | | IV | IV | I | I | no tom de Fá, | Bb | Bb | F | F | | V | IV | I | I || gera: | C | Bb | F | F ||. </span></pre><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Os acordes são geralmente tocados todos como acordes de sétima da dominante, embora eles não estejam de fato funcionando como acordes da dominante, já que eles não resolvem numa tônica. A escala de blues em Fá pode ser tocada sobre toda essa progressão. Embora a progressão de blues possa ser tocada em qualquer tom, os tons mais populares entre músicos de jazz parecem ser Fá, Si Bemol, e Mi Bemol, enquanto músicos de rock geralmente preferem Mi, Lá, Ré ou Sol. Isso tem muito a ver com a maneira como os instrumentos são afinados. Os instrumentos mais usados no jazz, como o trompete e os vários membros da família do saxofone, são geralmente afinados em Si Bemol ou Mi Bemol, o que significa que um "Dó" na pauta, quando tocado nesses instrumentos, soa na verdade como um Si Bemol ou um Mi Bemol, respectivamente. A música escrita para esses instrumentos é portanto transposta. As posições dos dedos nesses instrumentos favorecem tocar em Dó, que é na verdade Si Bemol ou Mi Bemol, dependendo do instrumento. As guitarras tendem a dominar a música rock, e as guitarras são afinadas para favorecer os tons que contêm sustenidos.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Tocar a escala de blues sobre a progressão básica de três acordes de blues num contexto de jazz envelhece muito rapidamente. A partir da Era do Swing, e mais notavelmente na Era do Bebop, os músicos começaram a adicionar elementos a essa fórmula simples. Uma adaptação comum da progressão de blues, que ainda é considerada o padrão para sessões de improviso de jazz ("<i>jazz jam sessions</i>"), é a seguinte:</span></div><pre><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">|| F7 | Bb7 | F7 | F7 | | Bb7 | Bb7 | F7 | D7alt | | Gm7 | C7 | F7 | C7 |. </span></pre><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Essa progressão oferece uma gama maior de possibilidades de escala do que a progressão básica de blues de três acordes. Por exemplo, os compassos 8 e 9 formam um V-i em Sol menor, e os compassos 9 a 11 formam um ii-V-I em Fá.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">A ideia de adicionar o ii-V à progressão de blues resulta em mais variações. Tomemos por exemplo o seguinte:</span></div><pre><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">|| F7 | Bb7 | F7 | Cm7 F7 | | Bb7 | Bdim | F7 | Am7b5 D7alt | | Gm7 | C7alt | F7 D7alt | Gm7 C7alt |. </span></pre><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Essa progressão em particular é especialmente comum no bebop e nos estilos posteriores. Observe a substituição de um ii-V-I em Si Bemol nos compassos 4 a 5, um ii-V-i em Sol Menor nos compassos 8 a 9, e um V-i em Sol Menor nos compassos 11 a 12. Observe também o acorde diminuto no compasso 6. Esse acorde diminuto está servindo como um substituto para o acorde de sétima da dominante, já que tanto o Bdim quanto o Bb7b9 compartilham da mesma escala Si Bemol Diminuta Semitom-Tom (Si Tom-Semitom). Essa mesma substituição pode ser feita na segunda metade do compasso 2.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Outras variações podem ser feitas usando substituições pelo trítono. Por exemplo, Ab7 pode ser tocado no lugar do D7alt na segunda metade do compasso 8. Você pode também mudar a qualidade dos acordes, substituindo por exemplo esse Ab7 por um Abm7. Outra substituição comum é um A7alt no lugar do F7 no compasso 11. Essa substituição funciona porque os acordes compartilham várias notas, entre elas a tônica, Fá, e porque o A7alt forma parte de uma progressão II-V-i em Sol Menor com o D7alt e o Gm7 que vêm em seguida.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Charlie Parker levou esses tipos de substituições a um extremo em "Blues For Alice". A progressão harmônica dessa música é a seguinte:</span></div><pre><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">|| Fmaj7 | Em7b5 A7b9 | Dm7 G7 | Cm7 F7 | | Bb7 | Bbm7 Eb7 | Am7 D7 | Abm7 Db7 | | Gm7 | C7 | Fmaj7 D7alt | Gm7 C7 |. </span></pre><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Essa progressão usa a maioria das técnicas descritas acima. Pode ser uma boa você se dedicar a tocar com essa progressão por um tempo.</span></div><h2><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Progressão <i>I Got Rhythm</i></span></h2><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">A música "I Got Rhythm", de George Gershwin, é a fonte de uma das progressões harmônicas mais populares da era do bebop, perdendo somente para a progressão de blues. Essa forma é chamada pelos músicos de jazz simplesmente de <i>progressão Rhythm</i>(em inglês, "<i>Rhythm changes</i>"). Como acontece com a progressão de blues, há muitas possíveis variações sobre a progressão Rhythm. A maioria das músicas baseadas na progressão Rhythm é tocada no tom Si Bemol, e em andamentos muito rápidos, geralmente bem acima de 200 batimentos por minuto. Essas músicas têm uma forma AABA de 32 compassos baseada na seguinte progressão de acordes:</span></div><pre><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">A || Bbmaj7 G7 | Cm7 F7 | Bbmaj7 G7 | Cm7 F7 | | Fm7 Bb7 | Ebmaj7 Ab7 | Dm7 G7 | Cm7 F7 || A || Bbmaj7 G7 | Cm7 F7 | Bbmaj7 G7 | Cm7 F7 | | Fm7 Bb7 | Ebmaj7 Ab7 | Cm7 F7 | Bbmaj7 || B || Am7 | D7 | Dm7 | G7 | | Gm7 | C7 | Cm7 | F7 || A || Bbmaj7 G7 | Cm7 F7 | Bbmaj7 G7 | Cm7 F7 | | Fm7 Bb7 | Ebmaj7 Ab7 | Cm7 F7 | Bbmaj7 || </span></pre><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Essa progressão contém muitas progressões ii-V. Qualquer uma das alterações comuns descritas no trecho sobre progressões ii-V acima podem ser usadas quando se está tocando sobre uma progressão Rhythm. Muitas músicas contêm ligeiras alterações dessa progressão básica, especialmente nos últimos quatro compassos das seções A. Algumas das alterações comuns são substituir o segundo acorde G7 por um acorde diminuto Bdim, ou substituir o quinto acorde Bbmaj7 pelo Dm7. A primeira substituição já foi descrita quando falamos da escala diminuta. A segunda troca um acorde I por um acorde iii, que têm três das quatro notas em comum, e cujas respectivas escalas diferem somente em uma nota. Além disso, o Dm7 e o G7 que o seguem formam um ii-V em Dó Menor, por isso essa é uma substituição especialmente forte harmonicamente.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">As características importantes da progressão Rhythm são as repetidas sequências I-VI-ii-V (ou substitutos) nos primeiros quatro compassos das seções A, e os movimentos básicos da tonalidade em quintas na ponte, conduzindo de volta à tônica original da última seção A. Se você quer virar um músico improvisador, deve ficar fluente na progressão Rhythm básica, especialmente no tom Si Bemol, e ficar familiar com as variações particulares associadas com músicas específicas. Essa também é uma boa oportunidade de testar o que você aprendeu sobre o ii-V, e de praticar tocar em andamentos rápidos.</span></div><h2><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Progressão Coltrane</span></h2><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">John Coltrane, por meio de composições originais como "Giant Steps" e "Countdown", do álbum Giant Steps, e arranjos de standards como "But Not For Me" no álbum My Favorite Things, ficou conhecido por usar uma progressão particularmente complexa que é geralmente chamada de <i>progressão Coltrane</i>, embora ele não tenha sido o primeiro ou único músico a fazer uso delas.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">A característica básica da progressão Coltrane é o movimento de tonalidade por terças maiores. A progressão de "Giant Steps" é a seguinte:</span></div><pre><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">|| Bmaj7 D7 | Gmaj7 Bb7 | Ebmaj7 | Am7 D7 | | Gmaj7 Bb7 | Ebmaj7 F#7 | Bmaj7 | Fm7 Bb7 | | Ebmaj7 | Am7 D7 | Gmaj7 | C#m7 F#7 | | Bmaj7 | Fm7 Bb7 | Ebmaj7 | C#m7 F#7 || </span></pre><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">O primeiro centro tonal aqui é o Si, depois Sol, em seguida Mi Bemol, e ele continua a mover-se em ciclo por essas três tonalidades, que estão a uma terça maior de distância.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Coltrane conseguiu desenvolver essa ideia de várias maneiras. Por exemplo, ele a usou como um substituto para uma progressão ii-V normal. A progressão de "Countdown" é baseada por alto na progressão da composição de Miles Davis chamada "Tune-up". Essa música começa com a seguinte progressão de quatro compassos:</span></div><pre><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">| Em7 | A7 | Dmaj7 | Dmaj7 |, </span></pre><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">que é uma manjada progressão ii-V-I em Ré Maior. Os primeiro quatro compassos de "Countdown" são:</span></div><pre><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">| Em7 F7 | Bbmaj7 Db7 | Gbmaj7 A7 | Dmaj7 |. </span></pre><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Coltrane começa com o mesmo acorde ii, e depois modula para o acorde de sétima da dominante meio-tom acima. A partir daí, ele inicia o ciclo de terças maiores, passando do tom Si Bemol para Sol Bemol e voltando finalmente a Ré. Os quatro compassos seguintes da música são idênticos harmonicamente, exceto que estão baseados num ii-V em Dó; os quatro compassos seguintes são a mesma coisa em Si Bemol.</span></div><div style="font-size: 12pt; margin-left: 0.25in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: verdana, arial, helvetica, 'times new roman', times; font-size: medium;">Solar sobre uma progressão Coltrane pode ser um desafio, já que o centro tonal aparente muda tanto. Não dá para simplesmente tocar uma única escala diatônica sobre vários compassos. As músicas geralmente são tocadas em andamentos rápidos, e também é fácil cair na armadilha de não se tocar nada além de arpejos que delineiem os acordes. Você precisa tentar ficar bastante atento e se lembrar de tocar melodicamente quando estiver solando sobre uma progressão tão complexa como é a progressão Coltrane.</span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-32803019966790198692011-06-08T22:49:00.002-01:002011-06-09T14:07:04.059-01:00Introdução a ImprovisaçãoHarmonia da Escala Maior<br />
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Uma grande parte da harmonia do jazz é baseada na escala maior. Como dissemos antes, cada escala maior tem uma relativa menor que é formada quando se toca a mesma sequência de notas, mas a partir do sexto grau da escala maior. Aliás, outras escalas podem ser formadas usando-se a sequência de notas de uma escala maior, a partir de qualquer um de seus graus. Essas escalas são chamados modos da escala. A escala maior natural é chamada o modo jônio (ou jônico ou iônico). A escala formada a partir da sexta nota, a relativa menor, é chamada de modo eólio. Os nomes desses <br />
<a name='more'></a>modos, bem como outros discutidos abaixo, vêm da Grécia Antiga, embora se diga que esses nomes foram misturados em traduções muito tempo atrás. Embora os modos gregos tenham interesse somente histórico na teoria clássica, eles são fundamentais para o jazz.<br />
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Escala Maior ou Modo Jônio<br />
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A escala maior, ou modo jônio, deve lhe ser bem familiar a esta altura. Ela é associada com acordes de sétima maior. No tom de Dó, por exemplo, o acorde Dó com Sétima Maior, notado Cmaj7 (ou C com um pequeno triângulo próximo a ele, ou às vezes CM7), tem as notas "Dó, Mi, Sol, Si", e essas notas delineiam a escala Dó Maior. Se um compasso numa peça de música é harmonizado com um acorde Cmaj7, a escala Dó Maior é então uma escala adequada para se usar na improvisação. A única nota dessa escala que soa ruim quando tocada contra um acorde Cmaj7 é a quarta nota, o Fá. Você pode convencer a si mesmo disso indo ao piano e tocando o acorde Cmaj7 com a mão esquerda enquanto toca várias notas da escala Dó Maior com a direita. A quarta de uma escala maior é geralmente chamada de nota evitada (avoid note) sobre um acorde de sétima maior. Isso não significa que você não possa nunca tocar um Fá sobre um Cmaj7, é claro, mas deve estar ciente do efeito dissonante que isso produz.<br />
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O acorde obtido acrescentando-se uma terça no topo do acorde ("Dó, Mi, Sol, Si, Ré") seria chamada de Cmaj9, e ele implica a mesma escala. Adicionar uma outra terça resultaria em "Dó, Mi, Sol, Si, Ré, Fá", e esse acorde seria chamado um Cmaj11. Por causa da natureza dissonante do Fá nesse contexto, entretanto, nem esse acorde, nem o acorde Cmaj13, obtido pelo acréscimo de uma terça adicional (Lá), são muito usados.<br />
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Modo Dórico<br />
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O modo dórico é construído no segundo grau da escala maior, usando-se as mesmas notas dessa escala. Por exemplo, a escala dórica de Ré é montada com as notas da escala Dó Maior, a partir do Ré, e consiste de "Ré, Mi, Fá, Sol, Lá, Si, Dó". O modo dórico é muito parecido com uma escala menor, mas o sexto grau é elevado em meio tom. Ou seja, a escala Ré Menor teria um Si Bemol, enquanto o modo dórico tem um Si. Como ele parece tanto com a escala menor, é natural tocar esse modo sobre um acorde de sétima menor. Aliás, ele é usado com mais frequência do que a própria escala menor. Se você for ao piano e tocar um acorde Dm7 ("Ré, Fá, Lá, Dó") com a mão esquerda, e tocar as notas do modo dórico de Ré e da escala menor de Ré na mão direita, vai provavelmente concluir que o modo dórico soa melhor, porque o Si é menos dissonante contra um acorde Dm7 do que o Si Bemol. Se você usar o modo dórico sobre um acorde de sétima menor, não há notas evitadas.<br />
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Do mesmo modo que com o acorde de sétima maior, você pode acrescentar terças ao acorde de sétima menor para fazer Dm9, Dm11 e Dm13. Esses acordes ainda implicam o uso da mesmo modo dórico. Se você usar a escala menor natural, o acorde de décima terceira contém a nota Si Bemol, que é um tanto dissonante nesse contexto. Esse acorde é raramente usado, mas quando ele é pedido, é geralmente notado Dm7b6, e é uma das poucas exceções à regra de que a maioria dos acordes são grafados em termos das extensões com números ímpares acima da sétima. Essa regra vem do fato de que os acordes são tradicionalmente feitos pela sobreposição de terças. A notação Dm6 é às vezes um sinônimo de Dm13 quando o Si natural é explicitamente pedido.<br />
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Modo Frígio<br />
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O terceiro modo da escala maior é chamado de modo frígio. Na tonalidade de Dó, uma escala frígia é construída sobre o Mi, e consiste de "Mi, Fá, Sol, Lá, Si, Dó, Ré". Essa escala, como o modo dórico, também é similar à escala menor, exceto que o segundo grau no modo frígio é rebaixado em meio tom. Ou seja, uma escala Mi Menor teria um Fá Sustenido, enquanto o modo frígio tem um Fá. Se você tentar tocar a escala frígia sobre um acorde de sétima menor, vai provavelmente achá-lo mais dissonante do que a escala menor, por causa da segunda rebaixada. O modo frígio é usado ocasionalmente sobre um acorde de sétima menor, embora geralmente o acorde seja notado como m7b9 como uma dica ao improvisador de que o modo frígio deve ser usado. Há outras situações específicas em que a escala frígia soa bem. Uma delas é sobre um acorde de sétima da dominante com uma quarta suspensa (veja modo mixolídio, abaixo) e uma nona rebaixada, notada susb9. Outra é sobre um acorde específico que eu vou simplesmente chamar de um acorde frígio. Um acorde frígio sobre Mi seria "Mi, Fá, Lá, Si, Ré". Quando o modo frígio é tocado sobre esse tipo de acorde, o resultado é um som um tanto espanhol, particularmente se você acrescentar um Sol Sustenido à escala, resultando naquilo que é às vezes chamado de escala frígia espanhola. Várias músicas de Chick Corea, entre elas "La Fiesta", e boa parte da música do disco Sketches Of Spain, de Miles Davis, usam essa sonoridade extensivamente.<br />
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Modo Lídio<br />
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O quarto modo da escala maior é o modo lídio. Na tonalidade de Dó, uma escala lídia é construída sobre o Fá, e consiste de "Fá, Sol, Lá, Si, Dó, Ré, Mi". Essa escala é como a escala maior, exceto que ela contém um quarto grau aumentado. Ou seja, uma escala de Fá Maior conteria um Si Bemol, enquanto a escala lídia contém um Si natural. Como o quarto grau da escala maior é uma nota evitada sobre um acorde de sétima maior, essa escala dá ao improvisador uma alternativa. Embora o som da quarta elevada possa soar um pouco incomum no começo, você vai ver que ela é em geral preferível à quarta natural da escala maior. Quando o símbolo Cmaj7 aparece, você tem a escolha entre as escalas maior e lídia. Geralmente, se o modo lídio é especificamente desejado, vai aparecer o símbolo Cmaj7#11. Lembre-se que um acorde Cmaj11 contém um Fá como a décima primeira; o Cmaj7#11 denota que essa nota deve ser elevada em meio tom.<br />
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Modo Mixolídio<br />
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O quinto modo da escala maior é o modo mixolídio. Na tonalidade de Dó, uma escala mixolídia é construída sobre o Sol, e consiste das notas "Sol, Lá, Si, Dó, Ré, Mi, Fá". Essa escala é como a escala maior, exceto que o sétimo grau é rebaixado em meio tom. Ou seja, uma escala maior de Sol conteria um Fá Sustenido enquanto a mixolídia contém um Fá. Como o acorde de sétima construído sobre o quinto grau da escala maior é uma sétima da dominante, é natural que se toquem linhas baseadas no modo mixolídio sobre um acorde de sétima da dominante. Por exemplo, a escala mixolídia de Sol pode ser usada sobre um acorde G7.<br />
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Do mesmo modo que com a escala maior sobre um acorde de sétima maior, o quarto grau da escala (Dó no caso do Sol Mixolídio) é uma nota um tanto evitada sobre um acorde de sétima da dominante. Entretanto, existe um acorde chamado de acorde suspenso, notado Gsus, Gsus4, G7sus, G7sus4, F/G, Dm7/G, ou G11 sobre o qual não há notas a evitar no modo mixolídio de Sol. A notação F/G indica uma tríade de Fá Maior sobre a nota Sol no baixo. O termo "suspensão" vem da harmonia clássica e se refere ao retardo temporário da terça num acorde da dominante ao se tocar primeiro a quarta, antes de resolvê-la na terça. No jazz, entretanto, a quarta geralmente não é nunca resolvida. O acorde suspenso consiste da fundamental, quarta, quinta, e geralmente também a sétima. A música "Maiden Voyage", de Herbie Hancock, consiste somente de acordes suspensos não resolvidos.<br />
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Escala Menor ou Modo Eólio<br />
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O modo eólio, ou escala menor, já foi discutido. Ele pode ser tocado sobre um acorde menor com sétima, embora os modos dórico ou frígio sejam usados com mais frequência. Ele é geralmente mais usado sobre um acorde m7b6.<br />
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Modo Lócrio<br />
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O sétimo e último modo da escala maior é o modo lócrio. Na tonalidade de Dó, uma escala lócria é construída sobre o Si, e consiste das notas "Si, Dó, Ré, Mi, Fá, Sol, Lá". O acorde de sétima construído sobre essa escala ("Si, Ré, Fá, Lá") é um acorde de sétima meio diminuto, Bm7b5. Esse símbolo vem do fato de que esse acorde é similar a um Bm7, exceto que a quinta é rebaixada em meio tom. O símbolo clássico para esse acorde é um círculo cortado por um "/" no meio. A escala lócria pode ser usada sobre um acorde de sétima meio diminuto (também chamado de sétima menor com quinta bemol), mas o segundo grau é um tanto dissonante e é às vezes considerado uma nota evitada.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-635716016340613272011-06-06T22:43:00.000-01:002011-06-06T22:41:03.935-01:00Chromatic Exercise 1<a href="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-1.gif" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 491px; height: 712px;" src="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-1.gif" border="0" alt="" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-12713374781841815702011-06-06T22:42:00.000-01:002011-06-06T22:40:46.872-01:00Chromatic Exercise 2<a href="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-2.gif" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 491px; height: 712px;" src="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-2.gif" border="0" alt="" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-15401077647159030182011-06-06T22:41:00.000-01:002011-06-06T22:40:32.051-01:00Chromatic Exercise 3<a href="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-3.gif" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 491px; height: 712px;" src="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-3.gif" border="0" alt="" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-86926959878392354702011-06-06T22:40:00.000-01:002011-06-06T22:40:16.398-01:00Chromatic Exercise 4<a href="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-4.gif" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 491px; height: 712px;" src="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-4.gif" border="0" alt="" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-70295773121683493972011-06-06T22:39:00.000-01:002011-06-06T22:40:00.938-01:00Chromatic Exercise 5<a href="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-5.gif" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin: 0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width:490px; height: 712px;" src="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-5.gif" border="0" alt="" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3158976279407262924.post-71023860081076784032011-06-06T22:26:00.007-01:002011-06-06T22:34:58.954-01:00Chromatic Exercise 6<a href="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-6.gif" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 491px; height: 712px;" src="http://www.streetmusician.co.uk/StreetMusicianDownloads/Chromatic-exercises-6.gif" border="0" alt="" /></a>Unknownnoreply@blogger.com0