Il Linguaggio Be-Bop e gli Accordi di Settima di Quarta Specie [The Be-Bop Language and The Major Seventh Chords]

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This paper represents a summary of a research work, carried out during the last two years, finalized to creating a method that may concretely assist jazz students in mastering the Be-Bop language. We have three main sections. The first section is predominantly devoted to the so-called linear language. We start from the mere definition of the fundamental Be-Bop scales, discussing their metric characteristics. Then, we introduce the notions of chromatism and approach, and suggest a strategy that may allow to easily combine the scales with the seventh arpeggios in the corresponding key. The second section is focussed on the development of a more articulate language. On this purpose, we propose a method entirely based on triads. In particular, we estabilish a parallelism between the pure chordal notes and the fundamental elements that constituite a sentence (subject, verb, complement). Basically, we start from an extended sentence, the writing of which depends on the chord type, manifestly built on a triad (major or minor): then, we progressivley modify the sentence by carrying out cuts and adding new words. In the last section, the briefest, some very useful notions concerning the harmonic progressions analysis are provided, taking the opportunity to introduce the advanced concept of Music Algebra. josha.org

Section: Tonicizzazioneunclassified

Section: Journal Of Science Humanities and Artsunclassified

Section: Introduzione Della Nonaunclassified

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Breve Introduzione all’Improvvisazione Be-Bop [Short Introduction to Be-Bop Improvising]

Cataldo¹

2018

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“…In ambito improvvisativo, al lavoro sulle note cordali pure (triadi), altrove brevemente presentato [1] [2] [3] [4] [5] [6], è indubbiamente affiancabile quello sulle scale. Il lavoro sulle note cordali, considerate nulla più che punti di equilibrio intorno ai quali dar luogo a continue fluttuazioni, è rivolto alla creazione d'un linguaggio assai articolato, pertanto tutto fuorché lineare.…”

Section: Breve Introduzioneunclassified

Definition and Usage of the Be-Bop Minor Scales (part 2): the Be-Bop Dorian Scale

Cataldo¹,

Deidda²,

́Errico³

et al. 2018

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JOSHA is a service that helps scholars, researchers, and students discover, use, and build upon a wide range of content 1 C. Cataldo, S. Deidda, F. D'Errico, G. Abstract (English)In this article, the purpose of which may be regarded as solely didactic, some simple strategies finalized to mastering the Be-Bop Dorian scale are suggested. Moreover, their application to jazz improvisation is herein discussed. We start from the mere definition of the scale, extended along two adjacent octaves, in ascending and descending motion. Subsequently, the metric characteristics of the scale are highlighted, proposing performance, in descending motion, beginning at the chordal notes (tonic, modal, dominant, subtonic). Moreover, by exploiting some artificis typical of the Be-Bop idiom (such as chromatisms and approaches), we show how the scale may preserve its metric peculiarities even if it is performed beginning at the remaining tensions. Lastly, by resorting to the concept of harmonization, we expound a simple method finalized to combining the Be-Bop Dorian scale with the diatonic seventh arpeggios derived from the corresponding Dorian Scale. Keywords (English)Jazz Improvisation, Be-Bop Dorian Scale, Minor Seventh Chords, Chordal Notes, Tensions, Approach Notes, Chromatisms, Harmonization, Arpeggios. AbstractIn quest'articolo, dalle finalità squisitamente didattiche, vengono suggerite alcune semplici strategie di metabolizzazione della scala Dorica Be-Bop, discutendone l'utilizzo in ambito improvvisativo. Si parte dalla mera esposizione della scala, estesa lungo due ottave adiacenti nei moti ascendente e discendente. Successivamente, se ne evidenziano le caratteristiche metriche, proponendone l'esecuzione, in moto discendente, a partire dalle note cordali (tonica, modale, dominante, sottotonica). Sfruttando alcuni artifizi tipici dell'idioma Be-Bop (quali cromatismi ed approcci) si mostra, inoltre, come la scala possa preservare le proprie peculiarità metriche anche qualora eseguita a partire dai restanti gradi tensivi. Infine, avvalendosi del concetto di armonizzazione, si illustra una semplice metodologia finalizzata alla combinazione della scala Dorica Be-Bop con arpeggi di settima diatonici dedotti dalla scala Dorica corrispondente.

Section: Breve Introduzioneunclassified

Definition and Usage of the Be-Bop Minor Scales (part 3): the Be-Bop Natural Minor Scale

Cataldo¹,

Deidda²,

́Errico³

et al. 2018

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In this article, the purpose of which may be regarded as solely didactic, some simple strategies finalized to mastering the Be-Bop Natural Minor scale are suggested. Moreover, their application to jazz improvisation is herein discussed. We start from the mere definition of the scale, extended along two adjacent octaves, in ascending and descending motion. Subsequently, the metric characteristics of the scale are highlighted, proposing performance, in descending motion, beginning at the chordal notes (tonic, modal, dominant, subtonic). Moreover, by exploiting some artificis typical of the Be-Bop idiom (such as chromatisms and approaches), we show how the scale may preserve its metric peculiarities even if it is performed beginning at the remaining tensions. Lastly, by resorting to the concept of harmonization, we expound a simple method finalized to combining the Be-Bop Natural Minor scale with the diatonic seventh arpeggios derived from the corresponding Natural Minor (Eolian) Scale.