"Swing arrangements mainly consisted of composed sections, but with
certain sections designated for improvisation. A bebop tune, however,,
would simply consist of a statement of the head,
or main theme, extended solos over the head’s harmonic structure, and
then one final statement of the head. It was common for bebop musicians
to compose new, complex melodies over well-known chord progressions. One
example of this is Charlie Parker’s “Ornithology,” which is based on
the changes from “How High the Moon,” a popular show tune in the 1940s.
"
Here's an overview of a very cool article (focusing on solo development) written by Dr. Stylani Tartsinis. I have learned a lot from it and I think you will, too.
To understand the Bebop approach in music, we have to
take a look at chromatics. If you're not familiar with Bebop, listen to these Bebop mp3s
Bebop patterns are like embellishments to the bare melodic
structure. Remember that in jazz, the scale degrees are referred to as numbers
rather thanletters.
Here’s a diatonic exercise
to practice, approaching the target tone by a whole step above and below. When
the target tone is approached by a whole step above, it forms a 9th;
if approached from below, it forms a flat 7 in the chord.
Extra tones: Dominant 7th
(natural 7), Major (#5), Minor (natural 3) and Half-dim (natural 5). Begin the
scale on the odd numbers. If the scale is begun on the even beats (2, 4 or 6),
the student will have to insert a half-step to prevent these added tones from
falling on downbeats.
Example #3 Major
C D E F G G# A B C
1 2 3 4 5
#5 6 7
Example #4 Minor
C D Eb E F G A B C
1 2 b3 4 5 6
7
Example #5 Dominant 7th Scale
C D E F G A Bb B C
1 2 3
4 5 6 b7 7
Example #6 Half Dim Bebop
C Db Eb F Gb G Ab
Bb C
1b 2b 3 4b 5n 5b 6
b7
Chromatic Approach Tones
Here are some examples of
approaching the target note C (tonic or1). The approach tones are proceeded
with a half-step (above or below), but at times, could be approached by a whole
step. It is this chromatic sound that defines the bebop style. It is also
important to keep in mind that these exercises are strictly for developing the
bebop sound. You should further practice these bebop examples to extend these
patterns with combinations of other chord tones an scales.
Single Note Approach
C# to C Half-step above
B to C Half-step below
Note: The above and below
examples note #1 (C#) as b9 (Db). Note that the #1 (C#) is the enharmonic or
the same tone to b9 (Db). B9 is preferred because of its frequent use as an
extension.
A7Dm7Dm7G7
Somewhere there's music, how faint the tune.
Cm7Cm7F7
Somewhere there's heaven, how high the moon?
Bb+7 Em-5 A7Am7Em7-5
There is no moon above when love is far away, too.
A7D9Em7A7Fm7F7Em7
Till it comes true, that you love me, as I love you.
#2.
Em7A7Dm7Dm7G7
Somewhere there's music, how near, how far?
Cm7Cm7F7
Somewhere there's heaven, it's where you are.
BbEm7-5 A7Dm7
The darkest night would shine if you would come to me soon.
A7-9Fm7F7EmEm7A7-9 D6
Until you will, how still my heart, how high the moon???
You'll stay on beat with your solo development if you use the Song Robot Software
All the best,
"The beautiful thing about learning is that no one can take it away from you." B.B.King
An interval in music is the distance in pitch between two notes. The
interval is counted from the lower note to the higher one, with the
lower counted as 1. Intervals can be named generally by merely counting
upwards (by going forwards using the letters of the musical alphabet)
from one note to the other, inclusively. For example, from C to E is a
third (C to C is 1, or more commonly and elegantly, a unison, C to D is a
second and finally, c to E is a third.)
Intervals are named by
the number of the upper note (2nds, 3rds, etc. ) but there are two
exceptions to this. The interval between notes that are identical is
called UNISON (also called a PRIME INTERVAL); the interval of an 8th is
called an OCTAVE.
Melodic and Harmonic Intervals
Intervals
are called Melodic Intervals when they are sounded separately and
Harmonic Intervals when they are sounded together. When studying chords
we talk about harmonic intervals. When melodies are played, we study
melodic intervals.
Mary Had a Little Lamb = E-D-C-D-E-E-E is a melodic interval.
C Major Chord = C + E + G played together is a harmonic interval.
3rd and 5th intervals make up the major chord. A lowered 3rd interval (minor interval) and 5th interval make up the minor chord.
Perfect and Major Intervals
The
interval between the keynote of a major scale and the unison, 4th, 5th,
or octave of that scale is called a Perfect Interval.
For
example, the difference from C to G (in a C major scale) is called a
Perfect 5th. The difference from C to F is called a Perfect 4th. The 8th
note of the scale is referred to as the Perfect Octave. The difference
between the same note is called the Perfect Unison.
The interval between the keynote of a major scale and the 2nd, 3rd, 6th or 7th of that scale is called a Major Interval.
For
example, the difference from c to c (in a C major scale) is called a
Major 2nd. The difference from C to E is called a Major 3rd. The
difference from C to A is called a Major 6th and the difference from C
to B is called a Major 7th.
Minor Types
When
the interval between two notes of a major interval (2nd, 3rd, 6th or
7th) is decreased by a half step, they become Minor Intervals.
For
example, a major 3rd becomes a minor third when decreased by a half
step. In a C major scale, the major third interval is from C to E.
Changing the major third to a minor third would simply mean lowering the
E to E flat. A minor 2nd would be D flat instead of D. A minor 6th
would be A flat instead of A. The minor 7th interval would include B
flat instead of B.
Only Major intervals may be made into minor intervals. Perfect intervals may not (for example, a minor perfect does not exist).
Augmented and Diminished Types
The
word augmented means "made larger." When a perfect or major interval is
made larger by a half step, it becomes an Augmented Interval. For
example, a perfect 5th can become an augmented 5th by raising the 5th
one half step.
In a C major scale, the perfect 5th is the interval
from C to G. By simply raising G to G#, the interval has been expanded,
which makes it an Augmented 5th.
The word diminished means "made
smaller." When a perfect or minor interval is made smaller by a half
step, it becomes a Diminished Interval. For example, a perfect 4th can
become a diminished 4th by lowering the 4th a half step.
In the C Major scale, G is the perfect 5th. By simply lowering G to Gb, it has been made the diminished 5th.
Chromatic Types
When
the keynote and the upper note of an interval are not from the same
major scale, it is called a Chromatic Interval. Minor, diminished and
augmented intervals are always chromatic intervals in major keys.
Summary: What is an interval?
Unison (Prime Interval) and Octave
Melodic/Harmonic Int
Perfect Unison, 4th, 5th and Perfect Octave
Major 2nd, 3rd, 6th and 7th
Minor Int
Augmented and Diminished Int
Chromatic Int
Now we have laid some groundwork for you to understand chords.
Chord Chart
GGGCA x2
GCDEmCDGFrom a distance the world looks blue and green and the snow-capped mountains white.
GCDEmCDG
From a distance the ocean meets the stream and the eagle takes to flight.
CDEmCGDD7
From a distance there is harmony and it echoes through the land.
CGCGCDG
It's the voice of hope it's the voice of peace it's the voice of every man.
From a distance we all have enough and no one is in need.
And there are no guns no bombs and no disease no hungry mouths to feed.
From a distance we are instruments marching in a common band.
Playing songs of hope playing songs of peace - they're the songs of every man.
CDGEmCDGGod is watching us. God is watching us. God is watching us from a distance.
From a distance you look like my friend even though we are at war.
From a distance I just cannot comprehend what all this fighting is for.
From a distance there is harmony and it echoes through the land.
And it's the hope of hopes it's the love of loves it's the heart of every man.
It's the hope of hopes it's the love of loves - This is the song of every man.
And God is watching us God is watching us God is watching us from a distance.
Oh God is watching us God is watching. God is watching us from a distance.
G2 C2/G D/G G2
From a distance the world looks blue and green,
CDG ( D/G,C2/G)
and the snow-capped mountains white.
G2 C2 C/E D/F#G
From a distance the ocean meets the stream,
G/B CDG D/G
and the eagle takes to flight.
REFRAIN 1
Cmaj7 DEm
From a distance, there is harmony,
CG/B G/D D
and it echoes through the land.
CG/B CG/B
It's the voice of hope, it's the voice of peace,
CDG, C
it's the voice of every man.
GCDG
From a distance we all have enough,
CDGC
and no one is in need.
GCDEm
And there are no guns, no bombs, and no disease,
CDG
no hungry mouths to feed.
REFRAIN 2
CDEm
From a distance we are instruments
CGD
marching in a common band.
CGCG
Playing songs of hope, playing songs of peace.
CDG
They're the songs of every man.
CDGEm
God is watching us. God is watching us.
CDG
God is watching us from a distance.
GCDG
From a distance you look like my friend,
CDGC
even though we are at war.
GCDEm
From a distance I just cannot comprehend
CDG, C(pause)
what all this fighting is for.
GDEm
From a distance there is harmony,
CGD
and it echoes through the land.
CG
And it's the hope of hopes,
CG
it's the love of loves,
CDEm
it's the heart of every man.
CGCG
It's the hope of hopes, it's the love of loves.
CDG
This is the song of every man.
G/C C6 DD7/G G D/F# Em
And God is watching us, God is watching us,
Em7 Am7 C/D DG G/B
God is watching us from a distance.
G/C C6 D D7/G G D/F# Em Em7
Oh, God is watching us, God is watching.
Am7 C/DG2
God is watching us from a distance.
Chord Breakdown
G2 = GD/ABD
C2/G = GE/CDF#
D/G = GF#/AD
C = CG/EGD
D = DA/F#AD
G = GD/GBG
C/E = EC/GD
D/F# = F#D/AD
Cmaj7 = CG/EGB
Em = EB/EGB
G/B = B/GBD
G/C = C/DGB
C6 = C/CEA
D7/G = G/CDA
Am7 = AG/BD
G2 = GD/ABDG
Become A Better Church Pianist Now! Learn How To Play Hymns Using Color Chords & Exciting Runs & Fillers www.PianoArrangement.com
"The beautiful thing about learning is that no one can take it away from you." B.B.King
I love teaching beginners, young children, and adults. I offer piano lessons for ages 3-103 and all levels from primer to advanced. We have a blast with piano games, playing duets, learning songs and theory.
I offer private and group lessons. I am a WunderKeys piano teacher for preschoolers, 3-years-old to Kindergarten. We have 2 recitals, Fall and Spring.
Thank You!
I've Been Mentioned!
Billie
“If I’m going to sing like someone else, then I don’t need to sing at all.” – Billie Holiday
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