Abstract
The aim of this article lies fundamentally in illustrating the first part of a simple and intuitive method, finalized to “speaking” the Be-Bop language immediately, without possessing any jazz background whatsoever. The main peculiarity of the method consists in the fact that the attention of the improviser is always focused on Triads. We herein exclusively discuss the improvisation techniques regarding the dominant seventh chords. Starting from a specific extended “sentence”, built around the Major Triad, we show how to instantly deduce further sentences, how to modify them, by cutting and adding “words”, and how to effectively combine them.
Highlights
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
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
We exclusively deal with the minor seventh chord, starting from a fundamental extended “sentence”, built around the minor triad, which immediately gives birth to three further sentences
Summary
We exclusively deal with the minor seventh chord, starting from a fundamental extended “sentence”, built around the minor triad, which immediately gives birth to three further sentences. The sentences so obtained can be cut, modified, by using new “words” (Wise, 1983) and extensions, and combined. As elsewhere discussed (Cataldo, 2017), the peculiarity of the method lies fundamentally in the fact that the attention of the improviser is always focused on triads
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