BEBOP BIBLE PDF

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We herein exclusively discuss the improvisation techniques regarding the Minor Seventh Chords. Art and Design Review, 5, As elsewhere discussed Cataldo, , the peculiarity of the method lies fundamentally in the fact that the attention of the improviser is always focused on triads. The Method 2. Obviously, the method should be practiced and mastered in all 12 keys. Although it is anything but a novelty Wise, , we will carry out the whole discussion in terms of sentences and words. Before starting, it is worth underlining how the only required background actually consists in the mere knowledge of triads.

The fundamental sentence we have to start from is shown in Figure 1. In Figure 1 , like in all the staves in this paper net of a single exception , the chordal notes meant as the notes that constitute the triad are highlighted in red.

From the pattern shown in Figure 1 , exploiting the translation and carrying out a banal cutting, we immediately deduce the three following sentences: 1 3 All the anacruses are clearly optional. Although the topic is not herein properly addressed, we highlight how the sentences in Staves 1 , 2 , and 3 lend themselves, very evidently, to several metric displacements. At this point, it is worth practicing the following exercise, based upon the minor triad and the ascending chromatic approach: 4 By means of a simple metric displacement, from the previous exercise, we can deduce the following: 5 From Staves 1 , 2 , and 3 , the latter considered with a metric displacement, exploiting the previous exercise, we deduce the three following sentences: 6 7 8 At this point, we can already start to combine the sentences deduced, so as to obtain something more complex Baker, a, b, c, d; Wise, We can clearly continue to mix the sentences, now with an additional ingredient.

Exploiting the word just considered, we can obtain a great deal of new sentences. Following a line of reasoning that, at this point, should be clear, the sentence in Figure 2 can be exploited to deduce a great deal of further sentences. Obviously, the above-mentioned bridge can be imagined as being arisen from the juxtaposition of two shorter descending chromatic bridges the first links the fifth to the minor third, the second links the minor third to the root : 16 Obviously, the shorter bridges can be also used independently.

For example, from Staff 1 , cut once we reach the minor third, we have: 17 Similarly, ignoring the anacrusis and carrying out a cutting, from Staff 2 we have: 18 Figure 2. From Staves 16 and 21 , we immediately obtain: 22 From Staves 18 and 21 , we have: 23 From Staves 19 and 21 , the first stopped at the third, we have: 24 Following the same line of reasoning, we can easily deal with all the further available tensions ninth, eleventh, thirteenth.

Figure 3 shows how to build descending chromatic bridges between all the available tensions between all the diatonic thirds , by exclusively thinking about three fundamental major triads.

Once again, it is worth highlighting how this method is entirely based upon triads. The procedure is practically indispensable when the chord remains the same for a Figure 3.

Chromatic Bridges between Diatonic Thirds. One of the strong points of the method consists in the fact that all the sentences we have deduced and all the ones that can be further deduced by following the line of reasoning herein exploited are perfectly suitable for a tonicized minor chord, no matter where the tonicization actually takes place.

In Staves 25 , 26 , and 30 referring, in the latter, to the last bar , Eb represents the flat thirteenth of G; in Staves 29 and 30 referring, in the latter, to the first bar , Bb that is enharmonic with A represents the sharp ninth of G. In other terms, in spite of the role played in the particular harmonic progression and notwithstanding possible tonicizations, a minor seventh chord can be considered as being a second degree.

In our case, consequently, C? The sentence in question is shown in Figure 4 , with the chordal notes the ones that constitute the F Major Triad depicted in red, and the minor seventh with respect to F depicted in green.

In Figure 5 we rewrite the same sentence: this time, however, the chordal notes, depicted in red, and the minor seventh, depicted in green, resume referring to C It is very easy to verify how the sentence in Figure 5 is perfectly suitable for C Moreover, following a procedure that, by now, should be fully understood, we can deduce a great deal of new sentences, omitted for brevity, that can be furtherly modified and combined with the ones to date obtained.

Now, we can rewrite the same sentence as a function of A-7b5. The rewritten sentence is shown in Figure 6 , with the chordal notes the ones that Figure 4. Figure 5.

Figure 6. The number of sentences suitable for this kind of chord can be further increased by exploiting the harmonic relationship discussed in the two previous paragraphs.

Brief Conclusion This method constitutes nothing but a simplified introduction to the Be-Bop language. The fundamental peculiarity of the method, once again, consists in the fact that the attention of the improviser, whose jazz background can be very minimal, is fundamentally focused on triads: basically, there is no need to know anything else to start playing Be-Bop.

Acknowledgements This paper is dedicated to my brother Emilio. Conflicts of Interest.

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Bebop Bible

What is the significance of Mount Nebo in the Bible? Question: "What is the significance of Mount Nebo in the Bible? Rising more than 4, feet above the Dead Sea, Mount Nebo is situated on the east side of the Jordan River opposite the city of Jericho. There on the mountain that you have climbed you will die and be gathered to your people, just as your brother Aaron died on Mount Hor and was gathered to his people. This same account at Mount Nebo is first mentioned in the Bible in Numbers — God told Moses that he would die on Mount Nebo overlooking Canaan.

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You are on page 1of 91 Search inside document aq You will notice that the book not only contains melodic ideas to be played over individual chords major, minor, and dominant but also a great number of larger musical sentences for chord progressions i. All the ideas are categorized into sections for easy reference and also the starting note in interval notation for every idea is given root, 3rd, 5th, 7th, etc. This will enable you to use the ideas more quickly in your playing. One way to give our solos continuity is to memorize musical sentences.

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The Bebop Bible

You are on page 1of 91 Search inside document aq You will notice that the book not only contains melodic ideas to be played over individual chords major, minor, and dominant but also a great number of larger musical sentences for chord progressions i. All the ideas are categorized into sections for easy reference and also the starting note in interval notation for every idea is given root, 3rd, 5th, 7th, etc. This will enable you to use the ideas more quickly in your playing. One way to give our solos continuity is to memorize musical sentences.

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