LESSON 5. u s i n g d o u b l e c h r o m a t i c a p p r o a c h e s

Size: px

Start display at page:

Download "LESSON 5. u s i n g d o u b l e c h r o m a t i c a p p r o a c h e s"

Vivian Poole
5 years ago
Views:

1 LESSON 5 u s i n g d o u b l e c h r o m a t i c a p p r o a c h e s 68

2 LESSON 5 Double Chromatic Approaches jazz blues using the ii-7 & iv-7 chords In the upcoming etudes we begin to transition out of the traditional blues harmony into a jazzier setting. This is achieved with the introduction of two minor 7 chords through a practice commonly known as modal interchange. It simply consists of borrowing a chord from a parallel tonality derived from a different mode or scale (eg. from C aeolian to C ionian), and replacing the original diatonic chord with it (eg. Cmin7 for Cmaj7). As a result you will now encounter a minor 7 chord in the 6th measure of our blues progression. It is borrowed from the IV degree of the parallel natural minor key and is taking the place of the original IV7 chord. It is analyzed as the IV-7 or minor sub-dominant. The 2nd minor 7 chord first appears in the 9th measure over the II degree, which is non-existent in a conventional blues progression. It is borrowed from the parallel major tonality and is analyzed as the II-7. Both minor 7 chords introduced employ the dorian mode. This scale is identical to the mixolydian which we have been using exclusively up to this point, with the exception that its 3rd degree is lowered a half step thus making it a minor mode. Its primary guide tones are: b3 and b7. As far as upper extensions go, the dorian s 2nd degree can act as a «9» and the 4th as an «11». Although the 6th can function as a «13», it is seldom used as such due to the tritone it forms with the minor 3rd. This effect mimics the unwanted sound of a dominant chord, a reason for which it is often treated as an «approach» note. Here are both, the mixolydian & dorian scales starting on the same root for comparison (chord tones are in bold). i n t r o d u c i n g ma j o r ii-v-i cadences You ll notice that the II-7 chord in the 9th measure of our blues progression, now precedes the V7 which in turn resolves to the I, resulting in a II-V-I cadence. This is the jazzed up version of a «perfect cadence» which in the world of classical music is traditionally: IV-V-I. However, if you remember our brief introduction to tonality on p.13, you might recall that the IVmajor chord can be substituted for the II minor which also has a sub-dominant function. This first became a trend among jazz musicians in the earlier 20th century. Because of its downward motion through the cycle of 5ths, it became the ideal harmonic vehicle for the improvising musician. Assignment 10: In the companion book, Bebop Guitar Improv Series : Scale and Arpeggio Fingerings, Part II / Dorian section, please commit patterns 2 (p.43) and 4 (p.41) to memory on your instrument. 69

3 BEBOP GUITAR IMPROV SERIES. VOLUME 1 lesson book introducing double chromatic approaches A Double Chromatic Approach (DCH) consists of 2 consecutive chromatic tones (usually one is diatonic and the other non-diatonic to the scale of the moment) preceding its target note. When «unprepared», it must be preceded by a rest or approached from a harmonic tone by a leap of a 3rd or more. It then resolves by 1/2 step. When a double chromatic approach isn t «unprepared», it follows a preparatory pitch and resolves by half step to a neighboring harmonic tone. This approach functions as a form of «double chromatic passing tone». Simply put, we are inserting 2 chromatic tones between 2 consecutive chord tones. Assignment 11: You are now ready to begin Bebop Calisthenics #4 on p of the «Bebop Guitar Improv Series VOL 1: Workbook» After completing the assignment in the workbook, please proceed with the related etudes in the upcoming pages. 70

4 LESSON 5 Double Chromatic Approaches 71

5 BEBOP GUITAR IMPROV SERIES. VOLUME 1 lesson book 72

6 LESSON 5 Double Chromatic Approaches 73

quiz # 4 Here is an opportunity to verify your understanding of the theoretical material introduced so far! You will find all the answers at the bottom of the page.

7 quiz # 4 Here is an opportunity to verify your understanding of the theoretical material introduced so far! You will find all the answers at the bottom of the page. 1- Modal Interchange: Check The Correct Answer: a) consists of borrowing a chord from a parallel tonality derived from a different mode or scale, and replacing the original diatonic chord with it. b) consists of borrowing a chord from a parallel major tonality, and replacing the original diatonic chord with it. c) consists of borrowing a chord from the relative minor tonality and replacing the original diatonic chord with it. 2- A Double Chromatic Approach consists of 2 consecutive chromatic approach notes: True False 3- A Double Chromatic Approach cannot be «unprepared». It must be preceded by a «preparatory pitch»: True False 4- The commonly used Upper Extensions for the Dorian mode are: a) 9 & 13 b) 11 & 13 c) 9 & The jazzed up version of a perfect cadence is: a) II-V-I b) I-IV-I c) IV-V-I 6- The Dorian mode corresponds to which one of these chords: a) the VI-7 in a major tonality. b) the II-7 in a major tonality. c) the IV-7 when in a minor tonality or as modal interchange within a major one. d) both b and c. 7- The formula for the Dorian mode is: a) b b6 - b7 b) 1 - b2 - b b7 c) b b7 Answers: 1) a 2) true 3) false 4) c 5) a 6) d 7) c Assignment 12 : Using Rhythm Templates 9 & 10 on the following pages, write a minimum of 2 etudes featuring Double Chromatic Approaches. 74

8 LESSON 5 Double Chromatic Approaches CT=chord tone PT=passing tone NT=neighboring tone UA=unprepared app. UE=upper extension ENC=enclosure DCH=double chrom. option 1: CT DCH CT UE CT CT ENC CT UA CT DCH CT CT UA CT PT option 2: UE UA CT CT CT CT CT UA CT NT CT UE CT CT UE CT DCH CT NOTE: Whenever using option 2, it is recommended that you first cross out the option 1 line to avoid visual confusion between the two. opt 1:CT CT UE CT CT ENC CT UA CT UE CT DCH CT CT UE CT opt 2:UE UA CT CT PT CT CT PT CT UE CT CT ENC CT UA CT CT opt 1: UE CT UA CT CT ENC CT UA CT UE CT DCH CT UE opt 2: UE UA CT CT UE DCH CT UA CT CT UE ENC CT CT opt 1: CT CT DCH CT UE UE CT ENC CT UE DCH CT CT UA CT opt 2: UE UA CT CT UA CT CT DCH CT UE CT NT CT UE CT CT UE 75

9 BEBOP GUITAR IMPROV SERIES. VOLUME 1 lesson book 76

10 LESSON 5 Double Chromatic Approaches 77

FREE music lessons from Berklee College of Music

FREE music lessons from Berklee College of Music Voice Leading for Guitar John Thomas Chapter Harmony Review and Introduction to Voice Leading Press ESC to cancel sound. Check out Berkleeshares.com for