A ii-V7 Tetratonic Sequence
The Return of the...
The Return of the...
In this post, we'll take another look at the Super 4 tetratonic - a potent 4-note configuration and a very handy tool for the improviser.
The two previous posts (as well as an available Shortbook™ on the subject) might a good place to review.
The minor ii-V7-i sequence exercise featured here and in the downloadable pdf (in 12 keys) is straightforward and should get you up and running in "Super 4" hero mode in no time.
The two previous posts (as well as an available Shortbook™ on the subject) might a good place to review.
The minor ii-V7-i sequence exercise featured here and in the downloadable pdf (in 12 keys) is straightforward and should get you up and running in "Super 4" hero mode in no time.
Specifically, the example below shows a 4-bar ii-V7-i melodic sequence in D minor. This sequence utilizes 3 of the 5 basic chord types inherent in the Super 4 tetratonic - namely min7b5, Dominant 7alt, and min 6/9. Examples which include Dom7 13 and Maj7#11 - the other two chord types - can be found in the previously mentioned articles.
The digits underneath each of the 4-note groupings indicate the number of semitones (half-steps) between each note of a particular "Super 4" tetratonic shape, of which there are four (1+4+2, 4+2+5, 2+5+1 & 5+1+4). Notice that these numbers circle around in sequence.
In this case, we start with 2+5+1 & 5+1+4 shapes in the first bar, over an E min7b5. The fact that there is no minor 3rd (G) in the line, is inconsequential.
The digits underneath each of the 4-note groupings indicate the number of semitones (half-steps) between each note of a particular "Super 4" tetratonic shape, of which there are four (1+4+2, 4+2+5, 2+5+1 & 5+1+4). Notice that these numbers circle around in sequence.
In this case, we start with 2+5+1 & 5+1+4 shapes in the first bar, over an E min7b5. The fact that there is no minor 3rd (G) in the line, is inconsequential.
Listen
As the idea here is the creation of an ascending line through the first 3 bars, shapes 5+1+4 & 1+4+2 in bar #2 work well to that effect. Another possibility for this measure might be 2+5+1 & 5+1+4 starting on F, but the fact that the 5+1+4 configuration repeats here up a minor 3rd over the A7alt, creates a stronger sense of composition and continuity.
Likewise in bar #3 - which repeats shape 1+4+2 over the bar line on the tonic minor D min6/9. The 2+4+1 (in parenthesis) in the first half of bar #4 is just a reverse (descending) 1+4+2.
Likewise in bar #3 - which repeats shape 1+4+2 over the bar line on the tonic minor D min6/9. The 2+4+1 (in parenthesis) in the first half of bar #4 is just a reverse (descending) 1+4+2.
Familiarizing yourself with the four shapes of this Super 4 tetratonic - in all keys - will no doubt take you to the next level in creating well balanced tension and release in your melodic lines.
B. Stern
B. Stern
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