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8/9/2019 Bergonzi Exersizes
http://slidepdf.com/reader/full/bergonzi-exersizes 1/6
APPTYINGTHE
I.5
GROUPINGTO
SOTOS
These
four note melodies
and their
permutations can be used on chord
changes
or improvising.
By
applying
them to a song, that is,
plugging in a four note
grouping per chord change, t becomes
clear how theywork.
The
following
example illustrates what
the
first
twelve bars of a
corrrrnon pattern of chord changes
would
sound
like
using
the numbers
l-2-3-5, remembering :Jrratl-2-3-5 s
replacedby l-3-4-5
on
minor
chords.
Example #1
(C
Tieble
Clef Instruments)
FA
F7
a
34
D-7
A-7
A7b9
G7
c-7
5tb235
Eb7
D7
Db7
c7
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Dont
be overwhelmed
y
the
number
of possible
ermutations.
nceyou
feel
comfortable
ith the
basic
grouping
of l-2-3-5,
practicing
ne or
two permutations
rom
each olumn s
sufficienl It
isnt necessary
to
practiceall, 4
permutations
smastery
of a few
will enable
ou ro incorporate
others
nto
your playing.
The
following
melody
uses he permutation
3-5-2-l
on that
sarne erof
chord changes.
Lxample#2
(CTreble
Clef Instruments)
Ea
A7b9
I
D-7 G7 C-7 F7
A
Bb-7
3521
Db7
3135
Eb7
14 5
A-7
531
Ab-7
t35
C7
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I FOUR NOII
GROUPIl ' IG5 I-5
Example 3 illdsuates
he permutation2-1-5-3.
Brample #3
(CTieble
Clef Instruments)
A7b9
D-7
A
t t )J
Ea
3154b2 153
Bb-7
Eb7
315421
C7
31542153
A-7
D7
5331542t53
FA D.7
3r542t53
Ab-7
Db7
31542153
153
G-7
G-7
C7
533t54
8/9/2019 Bergonzi Exersizes
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I I
MIXING
UP
PERMUTATIONS
O tt
you
have
become
amiliar
with
four
permutations
rom
the
1-5
grouping,
he next
step
s
to
play
througha songandmix up these ifferentpermutations. he goalheres o srive for varietyn yourmelodic
lines.
Having
memorized
our
permutations,
you
can
then
randomly
arrange
he notes
n
d.ifferent
hapes.
t
is
very
ikely
that you
will
begin
to play
permutations
which
you
havent
even
practiced
simply
by
thinking
about
the
different
possible
hapes
f these
our
note
melodies.
The
key
word
here
s
'thapd,.
The
following
example
llustrates
mixing
up
whatwer
permutations
come
o
mind
on
the first
eight
bars
of Tune
#2.
trnpl€
#4
(C
Tleble
Clef
Instruments)
-J
Ea
5l
Ao
A7b9
D-7
G7
43153521
c-7
F7
34b25
D7b9
35
453
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Yr5UAi l lA l l0 l
TUlt t
#2'0] l
THE
BRI] l l ( '
A7b9
D-7
G-7
G-7
c-7
c-7
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Thus,
the result
of
editing
is
to
change the somewhat
mechanical
sounding
eighth note
rhythms inro
more
musical melodies
and motifs.
Rhithmic
variation is
a
much
more
expansive mprovisational
tool
as the
possibilities are infinite
when
compared
with the choice
of notes
which we
are keeping
very finite
by the
numbering
system. t is
extremely h.lpfltl
to listen
to your favorite
players
and
try to determine
what kinds
of
rhythms
they are employng.
Listen for
the spaces
hey leavel The
silence n
spaces s
a solo
unto itself
Thke notice
of how
they are editing
their solos.
For example,
where
do their
phrases begin
and end,
on or
offthe
beat and
on or offwhat
beat?
The following
is
an example
of an edited
solo on a bebop
blues.
F.xample #5
(C
Tieble
Clef Instruments)
A7b9
D-7
c-7
Ab-7
-7
D-7
G-7
-7