The Art of Improvising: The Be-Bop Language and the Major Seventh Chords

2017

JOSHA

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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 (2017) Traduzione e Adattamento de ll'Articolo "The Art of Improvising: the Be-Bop Language and The Major Seventh Chords"Art and Design Review, 5,[222][223][224][225][226][227][228][229] Abstract (English)This article represents a translated and revised version of the paper "The Art of Improvising: the Be-Bop Language and the Major Seventh Chords". In this paper we exclusively discuss the improvisation techniques concerning the Major Seventh Chords. The reader, who basically is not required to possess any particular jazz background, is immediately led to speaking, as it were, by resorting to the Be-Bop language. On this subject, it is fundamental to underline how the whole dissertation is carried out in terms of sentences and words. The method herein proposed is very simple and intuitive. We start from a specific sentence, regarded as fundamental, built upon the Minor triad. By exploiting the fundamental sentence, several further sentences can be instantly deduced. The sentences so obtained can be easily cut, modified, by adding new simple words, combined with each other and finally enriched. In addition, we briefly address the so-called Tonicization and carry out a short compatibility analysis between the sentences herein deduced and the Jazz Turnaround. Keywords (English)Jazz Improvisation, Be-Bop Language, Major Seventh Chords, Major Triads, Tonicization, Jazz Turnaround. AbstractIn questo articolo vengono discusse, in via praticamente esclusiva, le tecniche d'improvvisazione relative agli Accordi di Settima di Quarta Specie. Il lettore, cui di fatto non è richiesto il possesso d'alcun background di carattere jazzistico, è subito portato ad esprimersi, per così dire, adoperando il Linguaggio Be-Bop. Il metodo è semplice e intuitivo. Si parte dalla presentazione d'una "Frase Fondamentale", costruita sulla Triade Maggiore, dalla quale vengono istantaneamente dedotte ulteriori proposizioni. Le frasi così ottenute vengono successivamente modificate, effettuando semplici "tagli" ovvero aggiungendo nuove "parole", e tra di loro variamente combinate. In aggiunta, è brevemente trattata la "Tonicizzazione", ed esaminata la compatibilità tra le frasi in questa sede dedotte e il cosiddetto "Jazz Turnaround".

“…(12) C. Cataldo (2017) Traduzione e Adattamento de ll'Articolo "The Art of Improvising: the Be-Bop Language and The Major Seventh Chords"…”

Section: Focalizzare L'attenzione Sulla Triade Maggioreunclassified

“…Cataldo (2017) Tanto per fornire un ulteriore esempio, dai Pentagrammi (17) e (28), sfruttando il ponte cromatico bidirezionale tra quinta e settima, otteniamo agevolmente:…”

Section: Introduzione Della Nonaunclassified

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

2017

JOSHA

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“…Anzitutto, è evidentemente possibile la costruzione di un semplice ponte cromatico discendente tra la nona e la settima (entrambe rappresentate in verde). Sfruttando tale procedura, dal Pentagramma (25), trasposto all'ottava inferiore ed esteso alla quinta, possiamo dedurre la seguente frase: (30) È naturalmente contemplabile la costruzione di ponti cromatici bidirezionali: il più semplice, ovviamente, è quello che coinvolge nona e decima (la terza all'ottava superiore). Dai Pentagrammi (21) e (30), ad esempio, otteniamo: (31) Il cromatismo bidirezionale di maggior interesse è quelle che coinvolge settima minore e nona.…”

Section: Introduzione Della Nonaunclassified

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

2018

JOSHA

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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

Into the Secrets of Jazz Arranging: Chromatic Scale in Different Harmonic Contexts

2021

JAD

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Herein we introduce a reliable and effective method, allowing any musician, regardless of the theoretical background, to carry out a 4-way jazz harmonization of whatever melodic progression almost instantly, with few exceptions. Many jazz students experience a deep frustration in dealing with the harmonization of non-diatonic notes. Sometimes, moreover, a coherent harmonization of the aforementioned notes can turn out to be a very challenging task even for extremely skilled professionals. In this paper, the harmonization of the chromatic scale in different harmonic contexts is accurately discussed, by resorting to the well-known concepts of harmonic functions, tonicization, chromatic and diatonic parallelism, and auxiliary chords. All the chords are labelled so as to allow the reader to immediately understand their role in the particular harmonic context. Consequently, the procedure essentially translates into an optimization of the "harmonic flow".