Pentatonic Voicings – Voice-Leading Principles (7:20)

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来自 University of Rochester 的课程

The Blues: Understanding and Performing an American Art Form

306 个评分

University of Rochester

The Blues: Understanding and Performing an American Art Form

306 个评分

The blues is an American art form and the most important musical form in jazz. Although there are other formal paradigms of the blues, such as 8-bar or 16-bar, this course focuses on different incarnations of the 12-bar blues. There are considerable differences between Early Jazz blues, Swing blues, Bebop blues, Modal blues, and Post Bop blues. Each type has its unique harmonic syntax, melodic vocabulary and, associated with them, improvisational techniques. While other aspects of jazz performance practice have been constantly changing from one stylistic convention to another, the blues has never lost its identity and expressive power, and continues to exert a powerful influence on the harmonic and melodic syntax of jazz. This seven-week course explores important aspects of the blues, blues improvisation, basic keyboard textures, jazz harmonic and melodic syntax. Topics include: (1) Blues Progressions; (2) Blues and Other Scales; (3) Improvisational Tools, and others. This course will also cover valuable theoretical concepts enabling the student to master the art of jazz improvisation. Each topic will be introduced from a practical perspective with the clearly stated goal: to improve one’s improvisational skills. Jazz improvisation is rooted in spontaneity, creativity, self-expression and, at the same time, self-control and order. A unique pedagogical approach based on a one-to-one musical interaction conducted with different instrumentalists will help to reinforce many of the concepts introduced in this course and realize its stated objectives.

从本节课中

Improvisational Tools

Lesson 5 introduces 3 more jazz standards for analysis: “Mr. PC,” “Mr. Day,” and “Isotope.” Tritone substitutions are examined, and pentatonic scale as tools in improvisation are introduced through exploration of their construction, typical voicings, and voice-leading principles.

Lesson 5 Introduction (2:39)2:39

“Mr. PC” Progression – Analysis and Tritone Substitutions (10:49)10:49

Pentatonics and Pentatonic Voicings (13:44)13:48

“Mr. Day” Progression – Analysis (3:36)3:36

Pentatonic Voicings – Voice-Leading Principles (7:20)7:20

Pentatonic Voicings – Practical Exercises (6:09)6:08

“Isotope” Progression – Analysis (8:00)7:59

The Drop-Two Voicing Technique (12:48)12:47

与讲师见面

Dariusz Terefenko
Associate Professor of Jazz Studies and Contemporary Media
Eastman School of Music

In keeping with examination of pentatonic scales,

let's look at the structure of F Sus Pentatonic.

On the slide you can see different voicings and

let's talk about how I generated them, okay.

So first of all your suspended pentatonic scale unfolds in a bass.

[MUSIC]

Okay, so we first generate a voicing that prioritizes the interval fourth.

We have the fourth up here [SOUND] we have another fourth here,

another fourth at the bottom, [SOUND] a major third just to balance things out.

So we're going to kind of move the next.

[MUSIC]

You have five unique pentatonic voicings, or modal voicings

that you can use in your realization of the Sus beats, all right?

And again, these kind of activities or

drills are particularly useful for

those who are interested in modal harmony and

want to work on the keyboard skills.

And the same thing with the B flat pentatonic,

because we have to provide harmonies for the sub dominant chord, right?

So, again, our pentatonic collection unfolds in a base.

[SOUND] And here are the resulting voicings.

[MUSIC]

Okay, now the fun part.

When you compare the pitch structure of the pentatonics on F and B flat,

you'll notice that there's only one note difference between the two scales.

Here's your F Sus Pentatonic.

[MUSIC]

And here is your B flat pentatonic.

[MUSIC]

So let me start B flat pentatonic on F.

[MUSIC]

So there are four notes that are common for both pentatonics and

there's one note difference.

So in F Pentatonic, we have G.

[SOUND] And if B-flat Pentatonic, [SOUND] we have A-flat.

So what does it mean?

It means that we can use voicings built on the common tones between the scales and

make very smooth voice reading connections between F and B flat chords.

That's very useful.

Let me demonstrate what I mean.

On the screen you can see a slide that indicates all the voicing from B flat

pentatonic and voicings from F pentatonic with some notes that are circled.

When you compare the voicing's from both pentatonic collections,

you'll notice that there are [SOUND] the difference between a voicing for F Sus.

[SOUND] Build on scale on F.

[SOUND] And a voicing for B-flat on F is only one note.

Notice the change.

[SOUND] This is our F chord.

[SOUND] And this is our B flat chord.

[SOUND] So, there are four notes held in common and

you just do this slow small gesture just to generate.

So let me play with the root.

[MUSIC]

That's very, very useful.

The same things goes for other voices.

When you create your voicing on B flat.

[MUSIC]

And you want to change it to B flat sus, you have to change it to one note.

[MUSIC]

The same things goes for other voicings.

So, this is very, very important property that you can capitalize,

because remember once your hands start to kind of jump around

you will probably not engage with good voice reading.

Once you [SOUND] kept everything under control and you capitalize

on like a one note change, your doing a good voice reading connections.

Okay, so, let's examine what happens in measure 9 and 10,

and C if we can find some notes held in common between these two pentatonics.

All right, so here is your B flat sus pentatonic.

[MUSIC]

And here is your A flat pentatonic.

[MUSIC]

So in fact, there are three notes held in common between these pentatonics,

B-flat, [SOUND] E-flat, [SOUND] and A-flat.

And interestingly enough, they create a nice chordal structure.

So again we have three notes held in common.

And we can capitalize on this relationship and

use voicing on these notes to negotiate these harmonies.

So, again, you have your suspended pentatonic voicings on B flat.

[MUSIC]

And here [SOUND] your suspended pentatonic voicings for A flat.

[MUSIC]

All right, so now, when you have your voicings on B flat, B flat.

[MUSIC]

If you change two notes only.

[MUSIC]

You're going to get [SOUND] A flat voicing.

The same thing the voicing's built on E flat.

[SOUND] Change two notes [SOUND] and you have A flat voicing.

[SOUND] So this, the aspect of persimony between voicings.

The relationship between B-flat and A-flat pentatonics, major seconds relationships,

a little more complicated, because there are two notes that you have to move.

But with chords that are related by fifths, descending fifths,

F to B-flat, there's only one note change between voicings.

And that never changes, regardless of what voicings you're going to use.

Same thing with the relationship between harmonies related by major seconds.

If there are three notes in common, you're going to have two notes that

you have to change while keeping the other three in the same place.

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