A Snakey, Serpentine Warm-Up!
While attempting to learn and assimilate any new skill, it's almost always more effective to take in smaller bits of information at a time. A phrase or melodic line, for example, might be broken up into smaller chunks for better digestion.
In this post, we'll take a look at an ascending, snake-like sequence that also functions as an excellent warm-up exercise.
Based on a simple, repeating 4-note cell, it winds its way chromatically in ascending, serpentine fashion.
In this post, we'll take a look at an ascending, snake-like sequence that also functions as an excellent warm-up exercise.
Based on a simple, repeating 4-note cell, it winds its way chromatically in ascending, serpentine fashion.
Ex. 1 (below) shows the aforementioned sequence starting on C. Each cell (2 per measure) consists of 4 eighth-notes, with its interval make-up being "up a minor 3rd - down a minor 2nd - down a Major 2nd". This 4-note cell repeats up a half-step for 3 1/2 measures before encountering a turnaround on the last 2 beats of the final measure.
Ex. 1
Ex. 1
The chord symbols above the line represent an attempt at harmonizing the line - which led to a few interesting observations in the process.
Starting in bar #1 with a C7#9, the roots of the next 2 chords (B7sus4 & Bb7) descend by a half step as the line ascends in contrary motion. The movement of scale steps 1-b3(#9)-2-1 (C-Eb-D-C) under the first chord, is followed by extensions 9-11-3-9 (C#-E-D#-C#) from B Mixolydian - the usual scale of choice for B7sus4.
In bar #2, 3-5-#11-3 (D-F-E-D) of Bb Lydian Dominant (Bb7#11, from the 4th mode of F Melodic Minor) is the first 4-note cell, followed by scale steps b9-3-#9-b9 (Eb-Gb-F-Eb) of the D Altered scale (derived from Eb Melodic Minor).
Moving along to bar #3 - b7-b9-root-b7 represent both F#7b9 (E-G-F#-E) and G7b9 (F-Ab-G-F) - as well as the Ab7alt (Gb-A-Ab-Gb) in measure #4, the final chord of the sequence (Db7b5) functioning as a bII7 (tritone substitution for V7) cadence back to the top (C7#9).
Starting in bar #1 with a C7#9, the roots of the next 2 chords (B7sus4 & Bb7) descend by a half step as the line ascends in contrary motion. The movement of scale steps 1-b3(#9)-2-1 (C-Eb-D-C) under the first chord, is followed by extensions 9-11-3-9 (C#-E-D#-C#) from B Mixolydian - the usual scale of choice for B7sus4.
In bar #2, 3-5-#11-3 (D-F-E-D) of Bb Lydian Dominant (Bb7#11, from the 4th mode of F Melodic Minor) is the first 4-note cell, followed by scale steps b9-3-#9-b9 (Eb-Gb-F-Eb) of the D Altered scale (derived from Eb Melodic Minor).
Moving along to bar #3 - b7-b9-root-b7 represent both F#7b9 (E-G-F#-E) and G7b9 (F-Ab-G-F) - as well as the Ab7alt (Gb-A-Ab-Gb) in measure #4, the final chord of the sequence (Db7b5) functioning as a bII7 (tritone substitution for V7) cadence back to the top (C7#9).
Listen
So what does this all mean, Mr. Natural?
Basically, that any note or group of notes function in context with whatever is happening harmonically and rhythmically around it - but you already knew that...right?
The Free B, downloadable pdf (link above) has this sequence transposed to all "keys", which has more to do with 12 intended starting and ending points, rather than "key centeredness".
Basically, that any note or group of notes function in context with whatever is happening harmonically and rhythmically around it - but you already knew that...right?
The Free B, downloadable pdf (link above) has this sequence transposed to all "keys", which has more to do with 12 intended starting and ending points, rather than "key centeredness".
One way to create variations to this and similar melodic sequences, is to shift accents. In Ex. 2, the original sequence is shifted an eighth-note to the left, creating a pickup and causing the accents to fall on what was originally the 2nd eighth note of each 4-note cell (Ex. 1).
Ex. 2
Ex. 2
Shifting one more eighth-note to the left creates a 2-note pick-up with a new set of accents (Ex. 3).
Ex. 3
Ex. 3
Try a 3-note pick-up. Notice how the shifts create a difference in contour, which results in another way of perceiving the shape of each cell.
B. Stern
B. Stern
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