Unintended Intro - iii-VI-ii-V Descending Four-Note Sequence
Here's an exercise sequence which utilizes a melodic cell of four notes (pentatonic minus one) per measure (except for the 4th & 8th bar, which uses four notes per chord), descending over, under, around and through a iii-VI-ii-V7 cadence.
It's basically a four bar sequence which repeats with rhythmic, melodic and directional variations the second time around.
The idea here is to maintain the integrity of the four note cell per measure / chord, while connecting the following measure / chord via a descending (mostly) whole or half step.
This results in the overall descending shape of the line.
It's basically a four bar sequence which repeats with rhythmic, melodic and directional variations the second time around.
The idea here is to maintain the integrity of the four note cell per measure / chord, while connecting the following measure / chord via a descending (mostly) whole or half step.
This results in the overall descending shape of the line.
The graphic below illustrates the eight bar melodic line, with chords voiced underneath. The line in the first four bars is comprised of uninterrupted eighth notes. Rests and triplets are employed in the second 4 bars as a way of creating a slight variation of the first four.
The first chord in the graphic below (E-7) should have actually been labeled E-7b5, due to the Bb in the chord voicing.
Playing by the numbers, the line breaks down as such:
Measure #1: E-7 or E-7b5 4-b3-1-4 b3-1-b7-b3 4-note cell (A-G-E-D)
Measure #2: A7alt b13-b9-3-b13 b5-3-b9-b5 (Bb-Db-Eb-F)
Between the the melodic line and the chord voicing, all seven notes of the Bb Melodic Minor scale
(A altered) are accounted for.
Measure #3: D-7 1-b7-5-1 b7-5-4-b7 4-note cell (D-C-A-G)
Measure #4: Ab7alt #9-b13-b7-b9 (E-F#-A-B)
G7alt #9-b9-b13-b7 (Bb-Ab-F-Eb)
When the melody and voicings are combined, both of these chords contain the full compliment of pitches from A and Ab Melodic Minor, respectively.
The Ab7alt (bVI7), is essentially a tritone sub for a D7 (II7), or secondary dominant. The chromatic root movement, from bVI to V7 (commonly found in the 9th & 10th bars of a "Mr. PC" type minor blues), is a bit more interesting.
The first chord in the graphic below (E-7) should have actually been labeled E-7b5, due to the Bb in the chord voicing.
Playing by the numbers, the line breaks down as such:
Measure #1: E-7 or E-7b5 4-b3-1-4 b3-1-b7-b3 4-note cell (A-G-E-D)
Measure #2: A7alt b13-b9-3-b13 b5-3-b9-b5 (Bb-Db-Eb-F)
Between the the melodic line and the chord voicing, all seven notes of the Bb Melodic Minor scale
(A altered) are accounted for.
Measure #3: D-7 1-b7-5-1 b7-5-4-b7 4-note cell (D-C-A-G)
Measure #4: Ab7alt #9-b13-b7-b9 (E-F#-A-B)
G7alt #9-b9-b13-b7 (Bb-Ab-F-Eb)
When the melody and voicings are combined, both of these chords contain the full compliment of pitches from A and Ab Melodic Minor, respectively.
The Ab7alt (bVI7), is essentially a tritone sub for a D7 (II7), or secondary dominant. The chromatic root movement, from bVI to V7 (commonly found in the 9th & 10th bars of a "Mr. PC" type minor blues), is a bit more interesting.
Measure #5: C6 9 3-5-6-3 5-6-9-5 4-note cell (E-G-A-D)
Resolving momentarily to the tonic chord, the melodic figure changes shape and direction from its counterpart in measure #1.
Measure #6: A7alt Essentially the same as measure #2, with the first 2 beats modified rhythmically with an eighth note rest and triplet.
Measure #7: D-7 An eighth note rest on beat 3 and the second C being omitted from the group is the only difference from meas. #3.
Measure #8: Ab7alt & G7alt The eighth note triplet on beat 3, with the final two notes trading position, are the only differences from measure #4.
Modifying the line slightly in the second 4 bars with rests an triplets gives the line some added rhythmic tension, compared to the steady stream of eighth notes in the first four.
Although I didn't intend it as such, these eight bars came out sounding like a pretty straight ahead, bebop iii-VI-ii-V-I intro that you might hear a rhythm section play to kick off a tune, especially since it resolves momentarily to the tonic chord in bar #5.
Anyway, it be what it B, so check it out and see what you can C.
Resolving momentarily to the tonic chord, the melodic figure changes shape and direction from its counterpart in measure #1.
Measure #6: A7alt Essentially the same as measure #2, with the first 2 beats modified rhythmically with an eighth note rest and triplet.
Measure #7: D-7 An eighth note rest on beat 3 and the second C being omitted from the group is the only difference from meas. #3.
Measure #8: Ab7alt & G7alt The eighth note triplet on beat 3, with the final two notes trading position, are the only differences from measure #4.
Modifying the line slightly in the second 4 bars with rests an triplets gives the line some added rhythmic tension, compared to the steady stream of eighth notes in the first four.
Although I didn't intend it as such, these eight bars came out sounding like a pretty straight ahead, bebop iii-VI-ii-V-I intro that you might hear a rhythm section play to kick off a tune, especially since it resolves momentarily to the tonic chord in bar #5.
Anyway, it be what it B, so check it out and see what you can C.
B. Stern
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