Improvisation Course 6

Fingerings for chords and arpeggios !!!


Okay, this is a concept that I personally like very much bass agreements.

Learn enough theory about the arrangements, arpeggios & stuff, but definitely come to better understand their logic when you can play the instrument.

So to the point:










Fingerings for the seventh agreements

As we learned in previous lessons, there are four types of agreements with the seventh increase in a range:










Please notice that in each of the agreements with the seventh, only three of the four sounds of an agreement are sung. I will try to explain as well why:

- three of the four sounds are the steps 1, 3 and 7 of an agreement with the seventh. 3 and 7 are the most suggestive elements of the agreement because they underline color. However, the agreement will use min7b5 steps: 1, b5 and 7. Clearly defines the step b5's soniritatea min7b5, so we will use it in preference to third parties. In this way we can differentiate the min7b5 min7.
- low frequencies of bass ... The more you play several notes, even begins to sound more crowded and ugly.
- so we can play four sounds simultaneously on bass, means you need to place each sound on each string. This leads to a very busy position and the left hand digitatii. Alternative arrangements can still play four sounds using two hands (tapping), but we insist on this now.

Arpeggios

An arpeggio contains the same notes as an agreement, but can be approached differently. If an agreement simultaneously playing notes, a chant involves arpeggio notes "on line", one after another.
In the pictures below to see the visual difference between an agreement and a Cmaj7 arpeggio.









There is something to be said, namely that both agreements and arpeggios are sounding virtually the same but their roles are in practice different arrangements are "tools "to the accompaniment of instruments, while the soloists prefer to use the arpeggios in improvisation to pass through various shades ...

Digitatiile arpeggios are welcome in the vocabulary of any bass, so I'll show you some patterns in the images below. In addition, continuing the course we work very much with arpeggios so I recommend you learn them well.

Arpeggios in one octave.

- all examples, the key to the most serious note of the pattern.









Exercises with chords and arpeggios

The idea is to apply lessons learned in the forms of agreements on major ranges below. Note that in order to harmonize a range, it is necessary to build agreements on each step.
Rewrite this scheme agreements:

I - maj7
II min7
III - min7
IV - maj7
V - dominant 7
VI - min7
VII - min7b5

EXERCISE 1 - harmonizing in agreement
C major (C, D, E, F, G, A, B, C)
F major (F, G, A, Bb, C, D, E, F)
Bb major (Bb, C, D, Eb, F, G, A, Bb)
Eb major (Eb, F, G, Ab, Bb, C, D, Eb)
Major Ab (Ab, Bb, C, Db, Eb, F G, Ab)
Db major (Db, Eb, F, Gb, Ab, Bb, C, Db)


Exercise 2 - Harmonisation using arpeggios.

Now we go through the game using the arpeggios of each agreement.

Gb major
B major
E major
A major
D major
G major


From start to improvise the next lesson ... yeeee ...!!! 
 
Increase in study !!!