[jazz_guitar] New PDF - Triad Pair melodies and ii-V-I lines
timpaypal2003
Sorry for the recent group inactivity - I've been busy organizing a tour for my trio of the Pacific Northwest for late October and creating a curriculum for some new beginning guitar classes I've begun teaching for the city of Arcadia, CA (Pasadena area). Thanks to JGG member Lan Mosher, I will presenting my master's research on the Miles Davis Quintet adapted for a guitar-based rhythm section for the Seattle Jazz Guitar Society. If there are any members living anywhere from Los Angeles to Seattle who have any suggestions for venues or educational institutions that might be interested in a clinic, I'd love to hear from you!
I've posted a new PDF lesson on my site that I wanted to share with the group detailing the melodic uses of triad pairs. The PDF is available on my lessons page (http://www.timfischermusic.com/lessons.php). The description for the PDF is as follows:
This lesson represents one of my attempts at integrating triad pairs into my linear and melodic vocabulary. After working on the different triad pair exercises from Walt Weiskpof's Intervallic Improvisation, I have wanted to utilize triad pairs in a more personal and melodic fashion, while still retaining the wide interval sounds that make triad pairs so interesting. This handout contains twelve melodic fragments based on two major triads a whole step apart, as well as four ii-V-I lines demonstrating their use in a harmonic context. While there are several triad pair options over the ii-V-I progression, I chose to explore two major triads a whole step on each of the three chords to help acclimate my ears to the sound of that pairing.
Try practicing the first section of triad pair melodies over the chords derived from the C Major scale (Cmaj7, Dmin7, Emin7, Fmaj7, G7, Amin7, B half dim) and note how the harmonic scheme changes the color/effectiveness of the melody. After you have worked on the smaller triad pair melodic fragments, practice the ii-V-I lines over a backing track or with an accompanist to get the full bi-tonal effect that triad pairs invoke.
-Tim
------------------------------------
<*> Group FAQ: http://www.jazzguitarfaq.com/
<*> File Archive: http://www.jazzguitarfaq.com/filearchive/
Yahoo! Groups Links
<*> To visit your group on the web, go to:
http://groups.yahoo.com/group/jazz_guitar/
<*> Your email settings:
Individual Email | Traditional
<*> To change settings online go to:
http://groups.yahoo.com/group/jazz_guitar/join
(Yahoo! ID required)
<*> To change settings via email:
jazz_guit...@yahoogroups.com
jazz_guitar-...@yahoogroups.com
<*> To unsubscribe from this group, send an email to:
jazz_guitar...@yahoogroups.com
<*> Your use of Yahoo! Groups is subject to:
http://docs.yahoo.com/info/terms/
Ron Becker
Thanks Tim. Wish I could attend the workshop. There are tradeoff to living in my version of paradise.
Hello all,
Sorry for the recent group inactivity - I've been busy organizing a tour for my trio of the Pacific Northwest for late October and creating a curriculum for some new beginning guitar classes I've begun teaching for the city of Arcadia, CA (Pasadena area). Thanks to JGG member Lan Mosher, I will presenting my master's research on the Miles Davis Quintet adapted for a guitar-based rhythm section for the Seattle Jazz Guitar Society. If there are any members living anywhere from Los Angeles to Seattle who have any suggestions for venues or educational institutions that might be interested in a clinic, I'd love to hear from you!
I've posted a new PDF lesson on my site that I wanted to share with the group detailing the melodic uses of triad pairs. The PDF is available on my lessons page (http://www.timfischermusic.com/lessons.php). The description for the PDF is as follows:
This lesson represents one of my attempts at integrating triad pairs into my linear and melodic vocabulary. After working on the different triad pair exercises from Walt Weiskpof's Intervallic Improvisation, I have wanted to utilize triad pairs in a more personal and melodic fashion, while still retaining the wide interval sounds that make triad pairs so interesting. This handout contains twelve melodic fragments based on two major triads a whole step apart, as well as four ii-V-I lines demonstrating their use in a harmonic context. While there are several triad pair options over the ii-V-I progression, I chose to explore two major triads a whole step on each of the three chords to help acclimate my ears to the sound of that pairing.
Try practicing the first section of triad pair melodies over the chords derived from the C Major scale (Cmaj7, Dmin7, Emin7, Fmaj7, G7, Amin7, B half dim) and note how the harmonic scheme changes the color/effectiveness of the melody. After you have worked on the smaller triad pair melodic fragments, practice the ii-V-I lines over a backing track or with an accompanist to get the full bi-tonal effect that triad pairs invoke.
-Tim
__._,_.___
<*> Group FAQ: http://www.jazzguitarfaq.com/
<*> File Archive: http://www.jazzguitarfaq.com/filearchive/
Change settings via email: Switch delivery to Daily Digest | Switch to Fully Featured
Visit Your Group | Yahoo! Groups Terms of Use | Unsubscribe
__,_._,___