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April 29, 2010 | Moving Forward; Melodic Progression
There are two different perceptions of the "direction" in music, horizontal and vertical. Music can be melody, it can be chords, and usually a combination of both. When one is expressed, the other is often implied; in the case of chord melody playing, a stream of chords, the highest note is perceived aurally as a melody. When you listen to a melody, there is always some degree of harmonic implication. Both are subject to interpretation and context, but a good musician will always take this into account, whether consciously or intuitively.
We've mentioned the concept of "Gravity" notes in past articles (see links below). Within a major scale, you have note are part of the chord, notes that pass to notes that are in the chord, and a third very important function, the notes that propel harmonically to either the notes in the key of the tonal center or the upcoming tonal center in the song.
This is easiest to understand in the context of a major scale when we listen to the pull of the 7 to 1, the 4 to 3, the 6 to 5, and the 2 to 1. Arguably, the first two (7 to 1, 4 to 3) are the strongest and most compelling. The other two can be somewhat tamped, especially when we add the extended members to 7th chords, G9, Eb13, etc.
Why is this important? If you aren't conscious of it, at least intuitively, your improvising can be very bland. Knowing which notes lead, and which notes land can make your solos exponentially more intentional and focused. Simply put, the audience will think you know what you are doing. The solo is less happenstance, more expressive.
This is a big problem for the folk/bluegrass musician who relies heavily on pentatonic scales. Even though the meat of the chord is in the scale, the tension notes of 4 and 7 are absent. In more progressive jazz chord vocabularies, the sound comes off as blather. We won't go into detail here, but the jazz musicians famous for using pentatonic aren't playing ones based on the roots, rather on some of the upper extensions of the chord (see Jazzed Pentatonics).
Back to the major scale, we've integrated the "pulls" into our FFcP exercises (the last two measures of the patterns), and provided a more concentrated exercise to develop this called "Guides & Gravity." Playing through these in all keys will help your fingers get used to their place on the fretboard, and over time, your ear gets better acclimated to the sound.
Have fun! Print exercise: Guides & Gravity.
4 and 7. The Committal Notes.
Critical Decisions in Improvising: 'Gravity' Notes.
Three Four Pull: Foregoing the Fourth Finger Frack.
Enhanced Pentatonics: What Goes Up Must Come Down.
Posted by Ted at April 29, 2010 9:09 AM
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