Top PDF Lydian-Dominant Theory for Improvisation

Lydian-Dominant Theory for Improvisation

Lydian-Dominant Theory for Improvisation

Dominant 7 b5 . C 7 b5 = { C E G b B b } C WT = WT 1 = { C D E G b A b B b } Notice that we have 4 notes of WT 1 already in the Chord itself! The two notes that are missing are D and A b . The D is easily justified as a 9 th . As 9 ths are, in reality, only the 2 nd note of a Major Scale, and this is a Major Chord, it can always be used in a situation like this. The A b is more of a problem to justify. Technically, C 7 is a Major Mode Chord and as such, a Major 6 th should be played giving us an A rather than an A b . Indeed an A can be played turning our Scale into one of the many Whole-Tone variants. However, using the A b gives us a slightly "outside" sound. In particular, it provides sonic variance using a non-critical note - the 6 th . This is very important to the Improviser. Next, I'll show how the Whole-Tone Scale can be used to fit an
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Piano Jazz Improvisation Harmony Theory

Piano Jazz Improvisation Harmony Theory

Whole tone – It is made only by whole tones.I suggest to use it just on the dominant 7 th chord.Whole tone scale is used above all in Jazz music. We can simplify and summarize all 12 whole tone scales to just 2 scale types : “A” whole tone scale and “B” whole tone scale.

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Improvisation and Learning

Improvisation and Learning

First note that the theory and rules derived in this subsection are used in Phase 2, to be de- scribed in Section 3. They are presented here since they derive from the jazz basics immedi- ately preceding. One way a novice improvisor can play is to associate one scale with each chord and choose notes from that scale when the chord is presented in the musical score. Therefore, Rule 1 is that an improvisor may choose notes from a “standard” scale associ- ated with a chord. Next, the 4th degree of the scale is often avoided on a major or dominant seventh chord (Rule 3), unless the player can resolve its dissonance. The major 7th is an avoid note on a dominant seventh chord (Rule 4) since a dominant seventh chord and its scale contain the flat 7th, not the major 7th.
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Musicianship through applied music theory : an undergraduate course with guitar integrating ear training, improvisation, and theory

Musicianship through applied music theory : an undergraduate course with guitar integrating ear training, improvisation, and theory

The theory behind seventh chords is covered in week eleven, after sufficient time has passed for students to develop a basic level of ability with performing, understanding, and hearing major and minor triads. The four varieties of seventh chords based on the combinations of major and minor triads with major and minor interval sevenths are taught. These are the major seventh, minor seventh, dominant seventh, and minor-major seventh chords. It is important to cover all four of these combinations so as to guarantee a complete understanding of seventh chord construction. Although the minor-major seventh chord is rarely found in classical music, it is found with some regularity in the medium of jazz. To wit, a C minor-major seventh arpeggio is written directly into the tune “Tenor Madness” used in this course. The half-diminished seventh, or minor seventh flat five, is covered in week thirteen along with the Locrian mode as it is the naturally occurring seventh chord on the diminished triad in a diatonic scale. This chord is used extensively in popular music and jazz with the ii Ø – V7 – i7 progression, although it does not receive significant coverage in this course as it lies outside of the scope of what can reasonably be covered with regards to guitar performance.
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Time and Organizational Improvisation

Time and Organizational Improvisation

or explicit fashion, show that improvisation is, in essence, a time-based phenomenon because of its focus on the timing of conception of an action and its execution. As Crossan, Lane, White and Klus (1996) suggest, improvisation is an activity where planning meets opportunity, blending in this way strategy formulation and implementation. Weick (2001) also calls improvisation “just-in-time strategy” and explains that, “Just-in-time strategies are distinguished by less investment in front-end loading (try to anticipate everything that will happen or that you will need) and more investment in general knowledge, a large skill repertoire, the ability to do a quick study, trust in intuitions, and sophistication in cutting losses” (2001: 352). These descriptions of improvisation in the context of business are consistent with the experience of improvisational jazz. Jazz improvisation has been used to illustrate how basic musical themes are reworked in a spontaneous fashion to build novel outcomes. Berliner’s definition of jazz improvisation reinforces the notion of improvisation operating at the juncture of planning and opportunity: “Improvisation involves reworking pre-composed material and designs in relation to unanticipated ideas conceived, shaped, and transformed under the special conditions of performance, thereby adding unique features to every creation” (1994: 241).
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The Improvisation of Musical Dialogue

The Improvisation of Musical Dialogue

known as composing? We tend to assume that there is a specific sort of artistic process common to all artists and composers. Artur Schnabel claimed, for example, that “the process of artistic cre- ation is always the same – from inwardness to lucidity.” 43 Clearly, though, there must be significant differences in how composers get to this point of lucidity, as well as just how lucid it actually is. An important part of this difference is how freely and spontaneously composers work. On one side of the spectrum is a composer like Schubert, who supposedly churned out a song per day. Gershwin significantly surpassed this record, since “he wrote six songs a day to get the bad ones out of his system.” 44 Perhaps he did. How- ever, some of these accounts seem more designed to fit with the romantic ideal: for the reality in most cases is that inspiration is far outweighed by struggle and hard work. One begins to under- stand just how difficult that labor may be when one realizes, for instance, that Elliott Carter filled two thousand pages worth of manuscripts for what ended up as the sixty-two-page text of his String Quartet No.2. Wolterstorff is right in claiming that we are greatly in need of “a new model of the process of artistic compo- sition in which both the working and the waiting find a place.” 45 How, then, might we characterize the process of creation? In Chapter 1, we noted that Wolterstorff wishes to draw a line between improvisation and composition. An organist improvis- ing at the organ is not composing a work precisely because “in all likelihood he did not, during his improvising, finish select- ing that particular set of requirements for correctness of occur- rence to be found in the score.” But is not the organist in the
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jazz Improvisation 1

jazz Improvisation 1

The following is a bass line for "Invitation." This tune presents a unique problem due to the absence of major chords (the normal cadence chord) with the exception of the final c[r]

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Berklee - Jazz Improvisation

Berklee - Jazz Improvisation

then substitute your own two-measure improvisation. Play measures 5–6 as written, then substitute your own improvisation for measures 7–8. Then do the set again, but start with your own impro- vised solo. Repeat the pattern. 3. Frame your improvisation. In each pattern, play the first part of the riff (measures 1–2), then substi- tute measures 3–6 with your own improvised solo, then play the last part of the riff (measures 7–8) as written. Repeat the pattern.

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Visualization in Jazz Improvisation

Visualization in Jazz Improvisation

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Piano Jazz Improvisation

Piano Jazz Improvisation

On the chord CM7, try to arpeggiate Em7, Am7, Dm7 or Bm7 DOMINANT 7TH CHORD - 1 1/2 tone down major scale 1/2 tone up diminished scale THE CIRCLE OF FIFTHS: Here is a diagram of the device that is used by a lot of musicians - the Circle of Fifths which are interval of perfect 5ths (dominants). You will notice that it's just like a clock and it resolves clockwise through the twelve keys.

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The place of discipline  “Improvisation and contact improvisation” in the system of higher  choreographic education of Ukraine

The place of discipline “Improvisation and contact improvisation” in the system of higher choreographic education of Ukraine

Thus, in exploring some aspects of the theoretical and methodological provision of choreographic education as a component of artistic education and humanitarian space of Ukraine, in this article we considered the author's approach to the development of discipline “Improvisation and contact improvisation” which was created and tested during the classes in the measures of classical dance and modern choreography direction at KNUCA. Applying system- structural analysis, theoretical modeling, abstraction and concretization, induction and deduction, comparison, generalization, systematization and interpretation of facts according to the goals and objectives set, it was found that in the conditions of democratization of humanitarian discourse in the post-Soviet space and the actualization of the synthesis of the generation of innovative ideas with the processes of fundamentalization, humanization and professionalization in higher education, there is a need to develop methodological support for choreographic education, which would answer Lo principles of priority and importance of the creative aspect scenically executive training Bachelors, choreographers and not contrary to the cultural orientation of their professional activities. Structural and theoretical and methodological foundations of the discipline "Improvisation and contact improvisation", which were analyzed in the article, indicate the importance of this course in the system of choreographic education at the present stage, its complementarity and integration into the complex of disciplines of normative and selective blocks. The author suggests and discusses the variant of thematic content (peculiarities of the improvisational creative process, imitation improvisation and its associated role change, non-imitation methods of interaction between partners and the structure of the lesson on improvisation and contact improvisation), according to the authors, corresponds to the improvement of skills and skills of students, mastery of the main methods and forms of pedagogical leadership of the choreographic team, the main approaches to the development of individualized learning strategies, assists the learner hannut theory and implementation techniques of improvisation and contact improvisation and practical skills in this area.
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Art of Jazz Improvisation

Art of Jazz Improvisation

Although jazz improv is a universal language, we’re not born with it. But almost anyone can learn basic improv skills (listening, ear training, theory, instrumental or voice techniques); some people learn faster than others. Some very good improvisers start later in life, but all good improvisers pay their dues by studying the works of the great jazz soloists. You need to constantly develop your listening skills, your sound and technique, and your desire to create better solos, or your progress will be blocked from time to time.

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127650026 Improvisation HandBook

127650026 Improvisation HandBook

As with the diminished scale, its repeating pattern allows the same scale to be used over different keys -- in this case, there are only two whole-tone scales that you need to learn. The[r]

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Musical Improvisation and the Academy

Musical Improvisation and the Academy

It is well documented that there were numerous traditions of musical improvisation in Western musical discourse prior to the twentieth century. Many of the great classical, Baroque, and Romantic composers including Bach, Haydn, Mozart, and Liszt were accomplished improvisers in addition to their talents as composers. Improvisation took place in the ornamentation of notated parts, in solo preludes and cadenzas, in fugal church organ playing, and more (Ferand, 1961; McGee, 2003). With the exception of improvised church organ music, most other improvisatory traditions within Western art music had greatly diminished, if not disappeared entirely, by the mid to late nineteenth century. Tere are several reasons for this disappearance, notably changes in the political economy surrounding music precipitated by the dominance of printed sheet music.
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Improvisation as anarchist organization

Improvisation as anarchist organization

In Lorna Davidson’s (2010) account of musicking in Robert Owen’s utopian New Lanark community, she notes how musical performance, song and dance were used to instil the discipline Owen believed was necessary for his community to function successfully. We don’t yet live in an anarchist (ambiguous) utopia, but to the extent that music can help us learn how we might organize our lives differently I would suggest that improvisation can play a similar pedagogical role for those interested in advancing the anarchist cause. This is not only because it shows how it can work as a mutually empowering form of organization, but also (and perhaps especially) because it is frequently challenged by many of the dangers that threaten anarchism. Working out how to overcome these could be of considerable pedagogical importance for anarchist organization; and it may even be that some of the techniques used by improvisers could be adopted in more explicitly political forms of anarchist organization. Oblique strategies for anarchists, anyone?
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Keywords in Musical Free Improvisation

Keywords in Musical Free Improvisation

Te syntactical level, recalling Evan Parker’s beautiful statement above (cf. Figure 1), is the place from which musicians gather “a sense of demands made by the particular piece of music as it unfolds” while, on the behavioural and pragmatic level, musicians “initiate and ... respond to the initiatives of others”. Tey are mutually dependent on each other on this level. An entity results in which these levels are interrelated and appear "in proportion to" each other. Clearly, the musicians involved strongly infuence what kind of language is created in free improvisation, and some expectations and ideas of what to play or not to play stem from the music they hear.
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Movement improvisation in psychophysical training

Movement improvisation in psychophysical training

imagined. So the drop is not a failed catch, it is that which proves that we exist only in the present and must sculpt our performance from that simple fact. 5. ‘No Wrong, No Right’ – It’s a truism that in improvisation you can’t get anything wrong. That’s a useful starting point for trainees, to point out that they are engaging in a creative and developmental process, without defined or ‘correct’ outcomes. As such you offer them the freedom to concentrate on the journey without fearing arrival at an

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Computational Systems for Music Improvisation

Computational Systems for Music Improvisation

In this paper we examine computational systems for music improvisation and how they work collaboratively with human musicians. We focus on the design and evalu- ation of such systems and the behaviours and performances that have been enabled through them. We do this in order to build a road map of existing systems which provides a platform for the design of future systems and improvisational possibilities. To achieve this, we have looked at a wide range of existing systems, drawing out a ‘bigger picture’ of the key considerations when designing a computational improvising partner. While some of our findings can apply to improvisation generally, our main focus in this paper is musical improvisation. Here, a human musician or group of musicians interact with computational improvisers with the goal of achieving musically satisfying experiences.
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Melodic Conventions through Improvisation

Melodic Conventions through Improvisation

After attending the Improvisation Interest Group meeting at the 2014 Society for Music Theory/American Musicological Society joint conference, it became clear to me that the biggest hurdle for incorporating improvisation into the music theory classroom is an inability to construct a working definition for improvisation. The participants in the interest group were from two different traditions, jazz and historical improvisation. The conversation at this meeting centered on the benefits of teaching jazz improvisation in the music theory classroom and the best way to implement it. Scholars in the historic improvisation tradition expressed concerns about the aesthetic association of jazz improvisation with creative individuality, and didn’t believe this degree of creative freedom had a place in the music theory classroom. Scholars in the jazz tradition responded to these concerns by explaining that the goal of teaching jazz improvisation is to teach students the thought processes that take place when a jazz musician improvises. The problem that arose was that the jazz scholars could not effectively explain what thought processes occur during jazz
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Improvisation of Nagampadam Bus Terminal

Improvisation of Nagampadam Bus Terminal

Kottayam is a place of tourism importance. It is a place of connectivity, for different modes of transit and region; a safe, convenient, attractive place where t[r]

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