Mostly 4ths
in a line over a very common Chord Progression
in a line over a very common Chord Progression
For the improviser, the ability to introduce the interval of a Perfect 4th (P4ths) into one's melodic lines is a useful alternative to basic scale running or chordal arpeggios in 3rds (horizontal vs. vertical).
Utilizing 4ths is a time tested option that will "modernize" one's lines - although it's been a staple choice for improvisers since the early 1960s.
It's also helpful to understand the intrinsic relationship between P4ths, the Pentatonic Scale, the 027 Trichord, as well as the Major Scale matrix itself.
Utilizing 4ths is a time tested option that will "modernize" one's lines - although it's been a staple choice for improvisers since the early 1960s.
It's also helpful to understand the intrinsic relationship between P4ths, the Pentatonic Scale, the 027 Trichord, as well as the Major Scale matrix itself.
The example below depicts a 2-bar sequence harmonized as a iii-VI-biii-bVI-ii-V (3/ 6/ flat-3/ flat-6/ 2/ 5) chord progression in the key of C. This is a variation of one of the more common chord progressions encountered across numerous styles. The harmony consists of a trio of "ii-Vs" descending chromatically.
Rhythmically, the first measure consists entirely of eighth-note triplets, while the second measure contrasts with a quarter note, an eighth, and a dotted quarter.
Rhythmically, the first measure consists entirely of eighth-note triplets, while the second measure contrasts with a quarter note, an eighth, and a dotted quarter.
Listen
Melodically, the first chord - E min7 (the iii chord of C Major) - consists of a pair of P4ths - E-A-D (an interval is the space between 2 notes). This configuration is commonly referred to as a sus4 or sus2, and could be alternately be notated as E min11. It's also known as an 027 Trichord in first rotation (inversion), and is just a pair of notes short of being a Pentatonic Scale.
Those two notes are... the first two (B and G) of the next triplet (on beat #2) completing a G Major Pentatonic (G-A-B-D-E) with the first 5 notes of the melodic line.
The second chord and triplet is represented melodically by a descending E minor triad, sounding the 9th, 7th & 5th of A7, the VI7 in C.
Pentatonically speaking, from the 2nd note of the third chord - Eb min7b5 - to the end of the first measure, another complete Maj Pentatonic is formed. Enharmonically (B-C#-D#-F#-G#), we're looking at a B Major Pentatonic.
If we take the 027 trichord (Db-Ab-Eb) triplet on beat 4 of the first measure (Ab sus), and add the first two notes (F-Bb) of bar #2 (D min7), we uncover a Db Pentatonic (Db-Eb-F-Ab-Bb), implying and anticipating a tritone substitution (bII7) of G7, the dominant V7 chord in our key of C.
This short but sweet 2-bar sequence is a practical way to realize and practice Perfect 4ths in a melodic line over a very common chord progression. It also helps one to appreciate the relationship between P4s, 027s and Pentatonics. Rhythmically, it will help in developing a feel for playing a line triplets.
The free downloadable PDF has this sequence transposed to all keys, so grab it!
B. Stern
Those two notes are... the first two (B and G) of the next triplet (on beat #2) completing a G Major Pentatonic (G-A-B-D-E) with the first 5 notes of the melodic line.
The second chord and triplet is represented melodically by a descending E minor triad, sounding the 9th, 7th & 5th of A7, the VI7 in C.
Pentatonically speaking, from the 2nd note of the third chord - Eb min7b5 - to the end of the first measure, another complete Maj Pentatonic is formed. Enharmonically (B-C#-D#-F#-G#), we're looking at a B Major Pentatonic.
If we take the 027 trichord (Db-Ab-Eb) triplet on beat 4 of the first measure (Ab sus), and add the first two notes (F-Bb) of bar #2 (D min7), we uncover a Db Pentatonic (Db-Eb-F-Ab-Bb), implying and anticipating a tritone substitution (bII7) of G7, the dominant V7 chord in our key of C.
This short but sweet 2-bar sequence is a practical way to realize and practice Perfect 4ths in a melodic line over a very common chord progression. It also helps one to appreciate the relationship between P4s, 027s and Pentatonics. Rhythmically, it will help in developing a feel for playing a line triplets.
The free downloadable PDF has this sequence transposed to all keys, so grab it!
B. Stern
Related:
*** Fourtitude - Fourtification for Improvisation ***
*** Pentalogy - A Multi Pentatonic Scale Practical Practice Guide ***
*** Trichord 027 - A Fresh, New Old Piece of Musical Language ***
*** Fourtitude - Fourtification for Improvisation ***
*** Pentalogy - A Multi Pentatonic Scale Practical Practice Guide ***
*** Trichord 027 - A Fresh, New Old Piece of Musical Language ***
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