Improvisation Course 7

Ok, finally, after so many definitions, explanations & I arrived at the stuff you apply what I learned. The good thing is that we will take applications step by step and we will insist on each item to understand once and for all relationships between harmony and melody.


Improvisation over static agreements, using notes of the Agreement.

As the title says, we begin to work on improvisation than one agreement, using only notes that agreement. To do this, we use arpeggios

Let's review digitatiile for arpeggios.

maj7


min7



dominant7




min7b5






Now I do not want to insist on technical exercises or digitatiile with arpeggios. I personally think it's better to put emphasis on the music of these lessons, and the technical level to make him every man for himself.Returning to the subject of the lesson, and said it's good to know that one of the targets is to master arpeggios in both ascending and descending, starting on any string in any position
so I will leave you to discover various positions for fingerings and arpeggios. If someone still can not manage to announce the forum and we see how we

I would also like to add a few things come to my ideas, I hope to explain them clearly.
- Since we are first in improvisation, arpeggios are an ideal tool in this stage because the resonance is 100% agreement. Using just the notes "in agreement", it is reasonable to sound like what we play perfectly in sync with changes in agreements.
- One of our main concerns in improvisation is that in general terms to reflect the harmony singing. In other words, a listener would be able to discern when we improvise harmonic changes, even if we do not accompany anyone ...
- A healthy concept of improvisation is to start simple, then more complex. Finally, in this first phase of improvisation we will try to learn how best to play just over an agreement ....

In this lesson we will work only with the four types of agreements explained in previous lessons: Maj7, min7, 7 (dominant 7) and min7b5. Obviously, we will deal with applications specific to these agreements arpeggios.

First descendants ascending arpeggios is played in one octave, and then I improvised using only the notes in the arpeggio ... Notice how the notes sung accompaniment is perfect agreement.

We will begin to make applications on each type of agreement. I want to work all together on one subject and move on all together. I say this because many of the tips, ideas, opinions, suggestions will be analyzing each of you.
So instead of starting to work with the four types of agreements at once: maj7, min7, 7, min7b5 - we will work on all.

TIP - I highly recommend you stay away from the start and finish basic musical phrases arpeggios. If the judge only as an exercise in improvisation it is ok, but in a real musical context this approach sounds very "schoolboy". Think of it as a band, regardless of type, is played by the fundamental tools that accompany vocalist / soloists. So if we assume the role of improviser must begin to think about different lines and phrases that we sing.
Rhythmically speaking, we have absolute freedom, no longer linked to the approach "bassist" with which we are accustomed. Melodic speaking least we should translate in the role of vocalist.
So start studying musical phrases on 3, 5 or 7 - this way you will easily escape easily "fundamental dependency."

Maj7 begin with.
I thought to use more negative, as different in style and tone. We can use any technique we want - finger, slap, up, etc ... important is to learn to apply musical concepts, so if we have something for technical comments or observations we will discuss the process.