Upload
ccdelao
View
223
Download
0
Embed Size (px)
Citation preview
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 1/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 1
Chapter 3
A Starting Place—Notes of Departure
• 16 pages• 38 examples
In the preceding chapter we examined ways a melody note can be approached improvisationally using ornaments that lead to the melody note. Now we'll focus on
notes of departure, ornaments that lead away from the melody note.
Two broad classifications of departure notes exist: (1) notes that apply to one melodynote; and, (2) notes that fill the space between two melody notes. We'll explore the first
type now, and the second type in a later chapter.
OUTLINE REPERTOIRE
One Note of Departure In His Time
Two Notes of Departure Every Move I Make
Three Notes of Departure O Come, All Ye Faithful
Four or more Notes of Departure America The Beautiful
The Chapter in a Nutshell I'm Gonna Live So God Can Use Me
Interface with Traditional Ornaments Blessed Assurance
One Note of Departure
If C is our melody note, a stepwise departure note (x) above or below C could occur.
Example 3.1 Stepwise Departures from Melody Note C
An important relationship exists between the one-note departure and the "escape note."The escape note is a subcategory of departure notes—it's more narrowly defined.
Example 3.2 Escape Note
x xx x & b œ œ œ œ œ œ . œ œ œ œ
DepartureDeparture
DepartureDeparture
ESC
x
ESC
x
ESC
x
ESC
x [& l ! l !www_ œ . œj œ œj œ œ_j œ_. œ_ œ œ œ œ
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 2/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 2
Above, the first note in each case is the melody note and it belongs to a C major chord.
The escape note is preceded and followed by a chord tone.
In traditional theory an escape note is a nonchord note approached by step and resolved by leap (usually) in the opposite direction. Now look below.
Example 3.3 Escape Note ( Refiner's Fire)
The same situation obtains. The F# is an escape tone—a particular sub-type of the
departure category. Let's look at two more instances.
Example 3.4 Escape Note ( In His Time)
The first escape tone above satisfies the escape definition totally. The second one (which
we consider an escape note too) has the escape feeling, but is irregular in having noresolution. The departure concept, however, is much broader. It includes departures that
can leap.
Example 3.5 Departure Leaping from B
x x & ## # # œ œ œ œ . œ
x
Original
ESC
E A
Re - f i n -er 's f i r e
Departure
B E A
my heart's one de-s ire
B l l& # # # # c l l !ll
l l&
# # # # c l l
!
˙ œ œ œ
œ . œj œ œ œ
˙ . Œ
˙ . Œœ œ œ œ œ œ
œ œ œ œ œ œ
˙ .
˙ .
ESCESC
Original E
In His
Departure
x
7mF#
time,
7B
in His
Departure
x
E
time l l& # # # # c l l l !ll l& # # # # c l l l !
œ œ
œ œ œw
w
œ Œ œ œ
œ œ Œ œ œ
w
w
˙
˙
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 3/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 3
Example 3.6 Departures that Leap ( In His Time)
Curved Shapes. Curved shapes can be stepwise or leap as well. Let's look at the
stepwise curves first.
Example 3.7 Departing Stepwise Curve (God is So Good)
Now some gapped departures. The gapped departures (A-C and F-A) below belong to
A minor and F major chords respectively. And for singers and instrumentalists, this issuch an easy, natural adornment to execute—let your ear be your guide. Instinctively, the
improviser will likely leap to a chord tone.
Example 3.8 Gapped Departure (Morning has Broken)
E
In His
7mF#
time,
Departure
7B
in His
E
time
Departure
7mC# l l& # # # # c
l l lll l& # # # # c l l lœ œœ œ w. œ œ œ Œ
œ œœ Œ œ œ w. œ œ œœ
Original
God i s so
F
Curved Departure
I
good
mG
ii
God i s so
F
Curved Departure
ESC
I
good
mG
ii l l& b c
llll & b c
l l? b c ! l !
˙ œ œ
œ . œj œ œ œwww_
w
wwww_
˙ œ œ
œ . œj œ œ œ œwww_
w
wwww_
OriginalC
Morn-ing has
mA mD G
bro - ken like the first
Gapped
Departure
Chord Tones
F C
morn - ing
Chord Tones
Gapped
Departure
l l& 94 l !ll l& 94 l !
œ_ œ œœ_ œ œ
˙ . ˙ . œ œ œ˙ œ œ ˙ . œ œ œ ˙ . ˙ .˙ œ œ ˙ .
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 4/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 4
The gapped departure can be a larger interval too—a sixth for instance.
Example 3.9 Gapped Departure (Holy Holy Holy)
Two Notes of Departure
As previously, for two departing ornamental notes, the movement can be up or down,
stepwise or gapped.
Example 3.10 Two Stepwise Departures Moving Away from C
Example 3.11 Stepwise Departure ( Jesus Paid it All)
Example 3.12 Gapped Departure Moving Away from C
x x x xx x x
x
!
& b ! ! !
œ œ œ œ . œ œ œ œ œ œ œ . œ œ
OriginalC
Ho - ly , ho - ly ,
Gapped
Departure
Chord
Tone
ho - l y !
F
Lord God A l -
Gapped
Departure
Chord
Tone
C
mi ght - y! l& c l l !l& c l l !
œ_ œ_ œ œ
œ_ œ_ œ œ œ_
˙ ˙
˙ ˙
˙ œ œ˙ œ œ_ œ
˙ ˙
˙ ˙
Original C
Je - sus paid it
F
all,
Stepwise Departure
x x x
C
All to Him I
G
owe
Stepwise Departurex x
l l& 34 l l ! ll l& 34 l l !
œ . œj œ œœ . œj œ œ
˙ .œ . œJ œ œ
œ . œj œ œœ . œj œ œ
˙ .œ œ . œ œ
x x x x x x !
& b ! !œ œ œ œ . œ œ œ œ œ
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 5/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 5
Example 3.13 Gapped Departure (In His Time)
Gapped departures can resemble arpeggiated fills (e.g., G-F-D is part of the Gm7 chord),
but differ in that they don't link two melody notes together.
Departures usually consist of two or more notes moving by step or leap in the samedirection. The shape is enlarged in a more or less straight line (like its mirror image, the
approach).
"Zigzag" departures can create nice effects too (see "x" for the bent note).
Example 3.14 Zigzag (Hooked) Departure Moving Away from C
In the above ornaments, the sense of an ascending or descending direction between thefirst and last notes is preserved: the inner note forms the angle of deflection.
Example 3.15 Zigzag Departure ( In His Time)
Let's look at encircling pairs departing from the melody note.
x
x
x
x
x l& b l l l ! œ œ œ œJ œ# œj œ œ_b œ œ œ œ œJ œ œJ
Original F
In His
7mG
time,
Zigzag Departure
7C
in His
F
time
Zigzag Departure
l l& b c l l l !ll l& b c l l l !
œ œ
œ œw
˙ . œ œ œ#£
œ Œ œ œ
œ Œ œ œw
˙ . œ œ œ£˙œ
F
In His
7mG
Gapped Departure
time
7C
in His
F
Gapped Departure
time & b 4
4 œ œ
œ œ ˙ . œ Œ
œ œ œ œ œ_ _. œ_
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 6/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 6
Example 3.16 Encircling (Good is So Good)
Three Notes of Departure.
For three departing ornamental notes, the movement can be up or down, stepwise or
gapped.
Example 3.17 Three-Note Stepwise Departure from C
Example 3.18 Three-Note Ascending Departure (Father I Adore You)
Example 3.19 Three-Note Descending Departure (Father I Adore You)
Example 3.20 Descending Departure (Silent Night)
The departures above are particularlyeffective because the larger pattern
of a C scale is implied (B to middle C).
x x x x
x x !& b !œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ_
C Encircling
God i s so
mD
good
C Encircling
God i s so
mD
good l& 44 !
lœ_. œ œ_ œ_ œ w œ_. œ__ œ œ_ œ w
Departure.......Departure7mD
All is
7G
calm
C
all is bright l& 34 l l !˙ œ ˙ œ œ œ ˙ œ œ œ œ œ œ œ_
OriginalDeparture
Je - sus I a - dore You
F 7mG
Je - sus I a - dore You l& b c! l !˙ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ ˙ ˙
Original Departure
Je - sus I a - dore You
F 7mG
Jes - us I a - dore You l& b c ! l !˙ œ œ œ ˙ ˙ œ œ œ œ œ_ œ œ œ ˙ ˙
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 7/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 7
Let's move on to gapped and zigzag departures.
Example 3.21 Three-Note Gapped Departure from C
Example 3.22 Three-Note Zigzag Departure from C
Notice, the departures do not return to the melody note from which they spring to form anenclosed figure.
Example 3.23 Three-Note Zigzag Departure (In His Time)
Now let's look at some encircling shapes —see the "x" surrounding the melody note.
Example 3.24 Three-Note Encircling Shape Departing from C
The notes G and E (a step above and below the melody note) are called "changing notes"
in traditional theory. The encirclings in both examples are closed because they return tothe melody note.
Below, we turn to curved shapes.
!
& b ! ! ! !œ œ œ œ
£œ œ œ œ œ . œ œ . œ_ œ œ œ œ œ œ œ œ œ_
! & b
! !œ œ œ œ£
œ œ œ œJ œ . œ œ œ£ œ œ œ œ
In His
Zigzag Departure
time In His
Zigzag Departure
time l l& b 44 l ! l l !l
ll
l
ll? b 44
l
ll
!!
!
l
ll
l
ll
!!
!
œ œ
∑
˙_... œ œ_#
ww
˙_
˙
œ œ
∑
˙_n œœœ_j œœœ_ œ_ œ_#
˙ œœj œœ ..b
˙_3
˙
F Closed Encirling
Changing Notes
x x
In His
7mG
time
7C F
In His
7mG
Closed Encircling
x xtime
7C l& b 44
l!
l l!
œ œ
œ œ œ w œ
œ œ ˙ œ
œ œ£
œ
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 8/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 8
Example 3.25 Three-Note Stepwise Curves Departing from C
Four or More Notes of Departure
For four or more departing ornamental notes, the movement can be up or down, stepwise
or gapped. Always consider the contours and placement of your ornaments, whether simple or complex.
Let's look at a variety of curves. Remember, curves return to (enclose) the melody note.
Example 3.26 Curved Shapes (In His Time)
In measures 1 and 2, the curve could also be called (in traditional theory) a lower and upper neighbor, respectively.
Example 3.27 Curves Rising, Falling, & Returning to the Melody Note (In His Time)
Now, several extended encirclings surround the melody note.
! & b
!œ œ œ œ£ œ œ œ œ> & b ! ! !œ œ œ œ£ œ œ œ œ£ œ . œ œ œ . œJ œ œ œ
Original F
In His
mG
time
7C F
In His
Curve............7mG
time
7C F
In His
7mGCurve.........
time
9C l& b 44 l ! l l ! l l !œ œ w œ œ œ œ . œjœ œ œ£ œ œ œ œ ˙ œ œ œ
Original
UN
F
In His
7mG
time,
LN
Curved
x
7C
in His
Curved
x
F
time
Curved........
x x x
l & b c l l l !
lll & b c l l l !
œ œ
œ œ
w
œ œ ˙ .
œ Œ œ œ
œ Œ œ œ œ œ£
w
˙ . œ œ œ œ
˙
˙
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 9/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 9
Example 3.28 Closed and Open Extended Encirclings Departing from C
Closed encirclings return to the melody note—open ones don't.
Example 3.29 Closed Extended Encirclings (In His Time)
Example 3.30 Closed and Open Extended Encirclings (In His Time)
Notice the second example immediately above. The encircling shape does not return to
the melody note (G): therefore it is open.
The extended departures below are more linear.
Example 3.31 Zigzagging Departure from Melody Note (In His Time)
Closed Open Closed Open Closed
!
&
b! ! ! !
œ œ œ œ ˙ œJ œ œJ œ œ œ œ œ ˙ œ œ œ œ . œJ œ œn œ ˙£
Closed Encircling.............Closed Encircling.................F
In His
7mG
time
7C F
In His
7mG
time
7C l& b l ! l l !œ œ œ œ# œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ£
œ
In His
Closed Encircling
time In His
Open Encircling..........
time l l& b 44 l ! l l !ll ll? b
44
ll !!
ll ll !!
œ œ
∑
˙_ œœœ_n œ œ£
˙˙ ˙
˙b
˙_3
˙˙
œ œ
∑
œœœ_...n œj œj_b œj œ œj
˙˙ ˙
˙b
˙_3
˙˙
Extended Departure....................Extended Departure....
F
In His
7mG
time
7C F
In His
7mG
time
7C l& b l ! l l !œ œ œ . œjœ . œj œjœ ‰ œ œ œ œ œ œ œ_ œ œ_ œ__ œ__£ œ_
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 10/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 10
Improvise!
Create departing ornamentations. Sing or play, creating one, two, or three-or-more-note
elaborations. Many opportunities exist, but don't feel you have to fill every space!
Don’t forget to integrate rhythmic delays and anticipations. Suggestion: take each phraseseparately at first, and then improvise through the entire piece as tastefully as possible.
Example 3.32 Improvise! In His Time (3.32c Introduction: 0:00-23)
God is So Good is another piece that works beautifully when seeking opportunities to
ornament after the melody note. Let's improvise with a piece in a faster tempo.
D
In His
In Your
7mE
Create?...................
time,
time,
A
in His
in Your
D
Create?....................
time,
time,
7mB
He makes
You make l& # # c l l l lœ œ w œ Œ œ_ œ w œ Œ œ œ
7mE
Create?...............................
all thing beau - ti -
all things beau - ti -
AG
ful in His
ful in Your
D
Create?.....................
time.
time.
DC
Lord please
Lord my l& # # l l lœ ˙ œ œ ˙ œ œ w œ Œ œ œ
7maG
show me ev - 'ry
life to you I
7A
Create?........
day, as you're
bring, may each
7mF#
teach - ing me your
song I have to l& # # l lœ œ œ . œj ˙ Œ œ œ œ œ œ . œj
7mB
Create?............
way, that you
sing, be to
7mE
do just what you
You a love - ly
7A AG
say in your
thing in Your
D
time.
time. l& #
# l l !˙ Œ œ œ œ œ œ . œj _ œ œ w
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 11/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 11
Example 3.34 Improvise! Every Move I Make
Notice all the repeated notes in this piece? Where the long whole notes occur on the
second line, create melodic ornamentation after the initial G ("Ev'ry move"). This pieceis more difficult to improvise with than the others.
Example 3.34 Improvise! O Come All Ye Faithful
Original G
Ev - 'ry move I
Ev - 'ry step I
2C
make I make in
take I take in
susD
You You make me
You; You are my
2C
move, Je- sus
way, Je -sus l {“ l& # c l l lll {“ l& # c l l l
œ œ œ œ
w
œ œ œ œ
w
œ Œ œj œ œj
œ Œ œj œ œj
œj œ . œ œ
œj œ . œ œG
Ev - 'ry breath I
Ev - 'ry breath I
2C
take, I breathe in
take, I breathe in
2D
You
You
C l& # l l {”
l& # l l {”
œ œ œ œ
w
œ œ œ œ
˙ œ œ
œ œ Ó
œ œ Ó
∑
∑
O
G D
come, let us a -
he a -lone is
give him all the
G
dore him, O
wor - thy, for
glo - ry, we'll
C
come, let us a -
he a -lone is
give him all the
G D G
dore him, O
wor - thy, for
glo - ry, we'll !& # c l l l lœ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ
1 21 21 21 21 2C mA
come, let us a -
he a - lone is
give him all the
D C
dore him,
wor - thy
glo - ry
G D
Christ, the
Christ, the
Christ, the
G
Lord. For
Lord. We'll
G
Lord. l& #
l l l !œ œ œ œ ˙ œ
œ ˙ œ . œj ˙ . œ w
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 12/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 12
Example 3.35 Improvise! America, the Beautiful
Example 3.36 Improvise! I'm Gonna Live So God Can Use Me
This tune is very similar to Will the Circle Be Unbroken.
O
B
beau - ti - ful for
F#
spa - cious skies, For
mC# F#
am - ber waves of l&
# # # # # c l l lœ œ . œj œ œ œ . œ_j œ_ œ œ œ
œ œ
B
grain, For pur - ple moun-tain
F#
maj - es -ties A -
C#G# 7C #
bove the fruit - ed l& # # # # # l l l˙ . œ œ . œj œ œ œ . œ_j œ_ œ œ# œ œ œ
F# plain! A -
B
mer - i - ca! A -
7mC # F#mer - i -ca! God
7F#shed His grace on l& # # # # # l l l˙ . œ œ . œJ œ œ œ . œj œ œ œ œ œ œ
B
thee, And
E
crown thy good with
B
broth - er-hoodFrom
mC# 7F#
sea to shin-ing
B
sea! l& # # # # # l l l !˙ . œ œ . œj œ œ œ . œj œ œ œ œ œ œ ˙ .
Intro q = 111
(Country)
7B E E EA E E EA
l&
# # # # 44 l l
œJ œ œ œ œ ˙ œ œ œ _ œ_ œ__
E mC# mF# 7B E A G#E )4
7(mF# E A G#E )47(mF#
I'm gon - na
I'm gon - na l& # # # # l lœ_ œ œ œ œ w ˙ ‰ œ_j œ_ œ_
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 13/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 13
A vs.1,2E 7B
live so God can
pray so God can
E 7E
use me an-y
use me an-y
A
time, Lord, and an -y
time, Lord, and an -y
E 7B
where I'm gon-na
where I'm gon-na { l& # # # # l l lœ ˙ œ œ œ œ . ‰ œ œ œ œ ‰ œj œ œ_ _ ‰ œ_j œ_ œ_
E
live so God can
pray so God can
E mC#
use me an - y
use me an - y
BE 7B
time and an - y
time and an - y l& # # # # l lœ ˙ œ œ œ œ . ‰ œ œ ˙ ‰ œj œ œ
1 21 21 21 2
{PNO FILL}
E A G
#E
)4
7
(mF
#where
E A G
#E
)4
7
(mF
#I'm gon-na
E
where
7C
I'm gon-na l& # # # # {” l {” b w ˙ ‰ œ_j œ_ œ_ w ˙ ‰ œ_jn œ_ œn
B vs.3,4F
7C
work so God cansing so God can
F 7F
use me an - yuse me an - y
Bb
time and an - ytime and an - y {“ l&
b l lœ ˙
œ œ œ
œ . ‰ œ œ œ
˙ ‰ œ œ
F 7C
where I'm gon - na
where I'm gon - na
F
work so God can
sing so God can
F mD
use me an - y
use me an - y l& b l_ ‰ œ_j œ_ œ œ ˙ œ œ œ œ . ‰ œ œ
12
12
12
12
12
{GTR FILL}
DRS OFF!
Rit................
CF 7C
time andan-y
F 7C
where I'm gon-na
CF 7C
time andan-y
Bbwhere
F l& b {” l l / ˙ ‰ œj œ œ ˙ ‰ œ_j œ_ œ ˙ ‰ œj œ œ w w
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 14/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 14
Example 3.37 Improvise! Blessed Assurance
All of our improvisation pieces in this chapter— I Exalt Thee, Jesus Your Name, In His
Time, Every Move I Make, America the Beautiful, We Worship and Adore You, O Come
All Ye Faithful —will serve as templates for practicing either approach or departure
ornaments.
D
Bless -ed as -
Per - fect sub -
G
sur - ance Je - sus is
mis - sion all is at
D
mine O what a
rest, I in my l&
# # 98 l lœ œ œ
œ . œ . œ
œ œ œ . œ . œ œ
œ
A E
fore - taste of glo - ry di -
Sav - ior am hap -py and
A sus7A
vine! Heir of sal -
blest; Watch-ing and
D G
va - tion, pur-chase of
wait - ing, look-ing a - l& # # l lœ . œ œJ œ œ œ# œ . œ . œ œ œ œ . œ . œ œ œ
D
God, Born of His
bove, Filled with His
mE A
Spir - it, washed in His
good - ness, lost in His
D
blood.
love. l& # # !œ . œ . œ œ œ œ . œ . œ œ œ_ œ . œ .
Refrain D
This is my
G
sto - ry, this is my
D
song, Prais -ing my & ## l lœ œ œ œ . œ . œ œ œ œ . œ . œ œ œ
mB 7E
Sav - ior all the day
A 7A
long; This is my
D G
sto - ry, this is my l& # # l lœ . œ . œ œ œ œ . œ . œ œ œ œ . œ . œ œ œ
D
song, Prais -ing my
mE sus7A
Sav - ior all the day
D
long. l&## l !œ . œ . œ œ œ œ . œ . œ œ œ_ œ . œ .
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 15/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 15
The Chapter in a Nutshell
The vocabulary we've shared with you provides a broader structure—a broader umbrella
of concepts—in which to think about improvisation than traditional theory. Let's reviewit briefly.
Melodic ornaments may be grouped into notes of approach and departure.
Ornaments may be further divided into (1) curves and (2) encirclings, and (3) zigzag
shapes.
Ornaments can be more finely subdivided into (1) stepwise, and (2) gapped types.
Interface with Traditional Ornaments & Harmony
How do our expanded concepts interface with traditional ornaments and harmony? Let'sthink about this for a moment. Traditional ornaments such as escape notes, neighbors,appoggiaturas, turns, cambiatas, and so on, are defined not only by rhythmic placement
and motion, but also by their harmonic identity—that is, their consonant or dissonantrelationship with their host melody note and their underlying harmony. For instance,
dissonances are expected to resolve in various ways.
Our concepts have a more flexible application—one better suited to improvisation—inthat they greatly diminish the traditional rules of consonant and dissonant resolution.
Besides, many of these rules no longer apply consistently in modern music practice.However, the traditional ornaments, if and when they do apply, are in easy conformity
within the new vocabulary used here.
Our terms describe the shapes formed by the intersection of ornamented added notes and their host melody notes. Two chief factors are at play: (1) rhythmic placement, and (2)
direction. The emphasis on using linear shape as an a priori creative tool simplifies, broadens, and frees the ornamental and constructive facets of improvisation.
However, when improvising, we need to understand or at least "hear" the underlying
harmonic structures. Use shapes as your creative starting point, then ornament, re-build,and overlay melodic ideas over these harmonies.
To fix in our minds the interface with traditional ornaments, let's review it just one more
time. Especially keep your eye on the "x" symbol below.
8/12/2019 03 Notes of Departure
http://slidepdf.com/reader/full/03-notes-of-departure 16/16
©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 16
O = Melody Note X = Ornament
Example 3.38
.
Incomplete Neighbor,
Escape Note =DEPARTURE
Neighbor Note
=CURVE
Unaccented
Passing Notes =DEPARTURE
Accented Passing Note
=APPROACH
Appoggiatura
=APPROACH
Changing Note
=
ENCIRCLING
o
F
x o o
F
x o o
F
x o o
mG
x x o
l& ! !œ œ œ œ œ œ œ œb œ œb œ œ œ
o x o o x o
C mG
o x x o
7C
N
F
o x x o
7C
N
mD
o x o
mD
o x o
F l& c ! l ! lœ œ œ œ œ œb œ œ œ œ£ œ œ œ œ£ œ œ œ œ œ œ