Over
the last 3 sessions we have focussed on various aspects of these
pieces, dissecting and reconstructing them. I hope next week we can play
through both tunes several times and stretch out a bit (musically
speaking).
Las Vegas Tango is
a simple minor blues using just 2 chords. The challenge here is how
best to exploit the openness of the composition. We have discussed
harmonic/melodic possibilities using major 7, minor 7, major 6 and minor
6 (you don’t necessarily have to thing of a specific scale choice). We
looked at ways to create dissonance (finding the available semitone
intervals and then expanding them to major sevenths or minor ninths). We
have also explored ideas for shaping a solo and particularly for
building tension (namely: volume, range, speed, density, harmonic
relevance … )
Pop Tune #1 is
also a very open vehicle but the chord sequence is more challenging.
The transcription I have done of Adam Rogers’ guitar solo (first two
choruses) is full of useful ideas (attached below). In his first chorus
he manages to play everything in concert Eb major, often using a
pentatonic scale (Eb F G Bb C). This is achieved by careful
analysis of each chord and then picking suitable notes (I don’t believe
this is just lucky guesswork!) In his second chorus he begins to break
away from Eb major and follow the chords more, usually playing chord
tones (eg bar 4 using the 4th, or in bar 13 using 5th and 3rd). In bar
15 he uses another pentatonic scale (Db Eb F Ab Bb) phrased in
descending triplets and clearly engineered to land on the root of the
chord in bar 16. Bars 18 - 23 exploit our old friend (!) the blues scale
(F blues F Ab Bb B C Eb F ). My transcription does not capture
all the rhythmic nuances of this solo but it does show considerable
rhythm variety - minims, crotchets, quavers, triplets, semi-quavers
(half notes, quarter notes, eight notes, triplets, sixteenth notes).
In
our last session I wanted to show you that even some of the most simple
3-note chords in this piece could still take traditional 7-note scales.
We looked at bars 23 - 26 (the last 4 bars, arguably a cadence
sequence). I have done a handout illustrating some of these scale
choices, in the various instrumental transpositions (attached below).
Try out these scale runs, they need to flow easily in your fingers (or
slide and larynx!) Question: how do these 4 bars relate to the II V I sequence?
If
you want to practise soloing on this piece with a backing track I have
attached an mp3 and also an iReal Pro file (for those who use this
software). Thanks to Mike for getting me going on this. I will also put
everything in the Dropbox.
See you on Friday.
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