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

2017

ADR

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This article represents the second part of a simple and intuitive method, finalized to "speaking" the Be-Bop language almost immediately, without possessing any particular jazz background. We herein exclusively discuss the improvisation techniques regarding the Minor Seventh Chords. Starting from a specific extended "sentence", built around the Minor Triad, we show how to instantly deduce further sentences, how to modify them, by cutting and adding "words", and how to effectively combine them. Moreover, we briefly explain how to deal with tonicization, and how to use the sentences suitable for the Minor Seventh Chords on the "corresponding" Dominant Seventh and Half-Diminished Chords.

Section: Brief Conclusionmentioning

confidence: 99%

Section: The "Corresponding" Dominant Seventh Chordmentioning

confidence: 99%

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

2017

ADR

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“…As elsewhere underlined (Cataldo, 2017a(Cataldo, , 2017b, this method constitutes nothing but a simplified introduction to the Be-Bop language. Nonetheless, all the sentences herein deduced, net of possible "enrichments" (Cataldo, 2017a) and combinations with "public domain" patterns (Coker et al, 1982;Nelson, 2010), can be easily found by examining well-known solo transcriptions (Garland, 1999;Kelly, 2013;Parker, 1978;Powell, 1998Powell, , 2002.…”

Section: Brief Conclusionmentioning

confidence: 99%

“…The sentences so obtained can be easily cut, modified, by using new "words" (Wise, 1983) and extensions, and then combined. As elsewhere discussed (Cataldo, 2017a(Cataldo, , 2017b, the peculiarity of the method lies fundamentally in the fact that the attention of the improviser is focused on triads.…”

Section: Introductionmentioning

confidence: 99%

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

2017

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This article represents the third part of a simple and intuitive method, finalized to "speaking", almost immediately, the Be-Bop language, without possessing any particular jazz background. We herein exclusively discuss the improvisation techniques regarding the Major Seventh Chords. Starting from a specific extended "sentence", built around the Major Triad, we show how we can instantly deduce further sentences, how to modify them, by cutting and adding "words", and how to effectively combine them. Moreover, we briefly explain how to deal with Tonicizations and ordinary Jazz Turnarounds.

Il Linguaggio Be-Bop e gli Accordi di Settima di Prima Specie [The Be-Bop Language and The Dominant 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 Dominant Seventh Chords"Art and Design Review, 5,[181][182][183][184][185][186][187][188] IntroduzioneIn questa sede vengono trattati, in via esclusiva, gli Accordi di Settima di Dominante (Prima Specie). Si parte da una "Frase Fondamentale", costruita intorno alla Triade Maggiore, dalla quale scaturiscono immediatamente tre proposizioni. Le frasi così ottenute possono essere agevolmente tagliate, variamente modificate, adoperando nuove parole (Wise, 1983) ovvero imponendo banali estensioni, a successivamente combinate. Abstract (English)This article represents a translated and revised version of the paper "The Art of Improvising: the Be-Bop Language and the Dominant Seventh Chords". In this paper we exclusively discuss the improvisation techniques concerning the Dominant 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 Major 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. Keywords (English)Jazz Improvisation, Be-Bop Language, Dominant Seventh Chords, Major Triads. AbstractIn questo articolo vengono discusse, in via esclusiva, le tecniche d'improvvisazione relative agli Accordi di Settima di Dominante. 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.