Como encontrar a escala de acordes dominante correta

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Do curso por Berklee College of Music

Improvisação no Jazz

9 classificações

Berklee College of Music

Improvisação no Jazz

9 classificações

Aprenda os conceitos básicos de improvisação com Gary Burton, um dos improvisadores mais renomados do mundo do jazz, incluindo os processos mentais, melódicos e harmônicos que contribuem com as habilidades instintivas que um improvisador põe em prática ao realizar um solo. Embora muitas pessoas sejam fãs de jazz e compreendam que os músicos estão frequentemente "compondo" as notas que tocam durante uma apresentação, a maioria das pessoas — o que geralmente inclui os próprios músicos que estão aprendendo a improvisar — não sabe com clareza quais são os processos exatos que ocorrem e fazem isso tudo acontecer. O objetivo deste curso é apresentar os conceitos básicos da improvisação moderna e mostrar como dominar as diferentes habilidades musicais e mentais envolvidas. O autor do curso, Gary Burton, codifica uma abordagem muito procurada da improvisação, a qual tem sido o centro do currículo da Berklee College of Music há décadas. Os alunos que concluírem esse curso saberão o que e como praticar os diversos aspectos da improvisação, além de compreenderem como o improvisador se comunica espontaneamente com os ouvintes por meio de suas criações musicais.

Na lição

FAZENDO ESCOLHAS DE ESCALA EM TEMPO REAL

Os improvisadores devem poder lembrar escalas de acordes rapidamente e conseguir executá-las de modo fluente. Isso se torna importante ao escolher qual escala de acorde a ser utilizada em determinada harmonia – outro detalhe que devemos poder determinar imediatamente. Quando uma nova música é colocada à sua frente em uma sessão ou em um ensaio, não há tempo de levar a música para casa e passar uma ou duas horas trabalhando nas escalas corretas. Improvisadores precisam de um modo rápido, quase intuitivo, de tomar essas decisões de escalas em tempo real à medida que a música vai sendo executada. Nessa semana, exploraremos meu método para tornar rápidas essas decisões musicais.

Encontrando a escala correta1:24

Encontrando a escala maior correta2:53

Método da escala de acordes2:00

Encontrando a escala de acordes menor correta2:44

Exemplos de escalas menores1:42

Como encontrar a escala de acordes dominante correta5:12

Conheça os instrutores

Gary Burton

So what's going on with dominant 7 harmonies?

We've looked at major chords and minor chords and now, let's look at these

dominant 7 situations. It starts off being very similar to the

major harmonies, in that it's the 4th of the scale that we're interested in.

In the case of the [MUSIC] the Mixolydian scale, it is a natural 4.

And with a raised 4 [MUSIC] it's called a Lydian flat 7.

These are the scales we looked at last week.

So that may be all you need to. Determine when you look at your piece of

music that it's maybe obvious that it's either the mixo or the lydian flat seven.

Just depending on whether it's a natural four or a raised four.

In addition, we also need to ask a question on dominant seven chords which

is. Are there any altered notes?

Now remember last week we talked about the altered scale including the flat 9,

the sharp 9, the sharp 11, and the flat 13.

Those are altered notes. And if you see altered notes in your

melody on your dominant 7 chord, or they are indicated by the, the preceding

harmony. Then that moves your dominant 7 chord

into the world of the altered let's say, and it's going to take one of the altered

scales in order to to be the right choice.

So there are two if you remember from last week that are closely related.

I call them cousins, there's the [MUSIC] altered scale, and there's the

symmetrical diminished. The bottom half of the scale is the same

for both altered and symmetrical diminished, and the only difference being

that instead of a flat 13 [MUSIC] on the altered, it's the natural six on the, on

the symmetrical diminished. So now let's look at some examples.

Here's, first an example where there's, clearly an F sharp in the melody of this

C7 and it, that tells us it's going to be a Lydian flat seven.

That also, I don't don't see any altered notes either.

So, Lydian flat 7 is the right chord scale for this first example.

Now, we see an example that calls for the altered scale.

We see, [MUSIC]. We see altered notes in the scale.

In the melody. And that's the, [MUSIC] the logical

scale. Now I'll give you a second example and

just remind you of something that we covered last week.

You'll notice in the second example there is a natural five in this altered scale.

Remember this is the hidden note, secret note, that's in the altered scale.

It's not officially there, but it works. It doesn't clash with the scale at all

and it occurs a lot in melodies on altered harmonies.

So don't let it throw you off. If you see a natural five, don't jump to

the conclusion and say, well, it can't be altered because it's not in that scale.

It is. Think of it as being part of the altered

scale. And in this example we're looking at now,

you'll see there's a G natural in the melody but it's still got altered notes.

It is an altered scale that's being called for.

Finally, here's an example that calls for the symmetrical diminished scale.

In this case, there's an A natural. Called for in the melody [MUSIC].

So, instead of the flat 13 [MUSIC] of the altered scale, we get the symmetrical

diminished. the altered scale occurs much more often

in tunes than the symmetrical diminished does.

So, your first guess usually is, if it's in the altered family, start with the

altered scale. And then if you have a moment to look

further or the next course then it comes up again.

Take a look at the sixth and see if it's natural or flatted to make sure you've

got the right choice. But altered occurs far more often.

Now, let me once again explain that this is meant to be a fast moving process.

We want to do this, you know, in time with the music.

so we don't have a lot of time to stop and think.

It takes me, I don't know, 10, 20 seconds to verbalize the steps in the process as

I describe it to you, each chord that we've talked about here today.

But in fact, once you're used to doing it.

It happens almost instantaneously. Your eyes see the note you are looking

for and you start to play. It's a very quick reaction.

So don't, you know, get hung up feeling like you have to sit down and study this

over and over again. The more you do it, the more tunes you

learn the faster this will become, until you do it pretty much automatically.

And that's what we're looking for, that's the goal.

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