ADVANCED TECHNIQUES
TECHNIQUES
Fig ure4
O ur final figu re ,
Figure 4
,
a d d re s s e s the sa m e four n o tes,
but th is tim e v ie w in g the
stru ctu re fro m the 7th.
VII - I - III - V
VII - III - I - V
VII - V - I - III
VII - I - V - III
VII - III - V - I
VII - V - III - I
“ IT'S THIS M
Of ANALYSIS THAT
I ADDRESS IN
MY
SERIES Of TEXTS,
CHORDToNE
concepts
,
but
how
can
we
actually
apply
IT? ”
Example 2 amd 3
It's th is fo rm o f a n a ly s is th at I
a d d re s s in m y s e r ie s o f te x ts ,
Chord Tone Concepts,
but h o w
ca n w e a c tu a lly a p p ly it? W e ll,
b a ck in
BGM
102 w e le a rn e d
to h a rm o n ise th e G m ajo r
s c a le u sin g tria d s. W e then
s p lit th e d ia to n ic in fo rm a tio n
b e tw e e n bo th left and rig h t
h a n d s and d e liv e re d it in a
ta p p e d m an n er. L e t's re v ise
th is in fo rm a tio n now :
N ow , it's q u ite p o s s ib le to
a p p ly th e s a m e p e rm u ta tio n
m e th o d s th at w e in v e stig a te d
e a rlie r to
Exercise 2
. A lth o u g h
th e actu al p itc h e s w e p lay in
each bar c o n s is t o f th e root,
fo llo w e d by th e 5th , o c ta v e
an d fin a lly th e 3rd , v ie w the
p h ra se s im p ly a s fo u r n o te s
an d th e n a p p ly th e 24 d iffe re n t
c o m b in a tio n s to th o s e p itch e s.
Exercise 3
in v o lv e s the
s a m e p itc h e s w ith a d iffe re n t
p e rm u ta tio n a p p lie d ; I'll le ave
yo u to e n jo y th e o th e r 22. U n til
n e x t tim e , p ra c tis e hard!
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