Scribd Logo
Cargar

¡Te damos la bienvenida a Scribd!

  • Mike Stern Improvising Concept

    Cargado por

    Tiziano Ragazzi
    194 vistas20 páginas
    Mike Stern Improvising Concept

    Derechos de autor

    © © All Rights Reserved

    Formatos disponibles

    PDF o lea en línea desde Scribd

    ¿Le pareció útil este documento?

    ¿Este contenido es inapropiado?

    Denunciar este documento
    Mike Stern Improvising Concept

    Copyright:

    © All Rights Reserved
    Descargue como PDF o lea en línea desde Scribd
    Marcar por contenido inapropiado
    194 vistas20 páginas

    Mike Stern Improvising Concept

    Cargado por

    Tiziano Ragazzi
    Mike Stern Improvising Concept

    Copyright:

    © All Rights Reserved
    Descargue como PDF o lea en línea desde Scribd
    Marcar por contenido inapropiado
    de 20
    IMPROVISING CONCEPTS MIKE STE| By ART RENSHAW |. HARMONIC ANALYSIS: AFTER ANALYZING THESE LINES, | FOUND THE FOLLOWING IDEAS: A. Over any minor (1-63-35) or minor extended chord (1-4b3-45-4b7-9-91 113) play the Dorlan mode from the tonic of the chord. Cain" ee Clee be Ee Oe A eee B be de 2) (b3) 4s) 6 b7 8 (1) Harmonize the "C* Dorian mode to expose triads and diatonic harmony: I 0 Mm IV Vv VI vo Cmin” Dmin’ Ebmaj’ F Gmin’? | Amin’b5 | Bbmaj’ By knowing the diatonic harmony, we see that there are 7 chords. Since a chord = arpeggio, we are free to play ALL of these arpeggios over our original min" chord. In other words, try playing the Dmin’, Ebmaj’, F’, Gmin’, Amin’ss, and B bmaj’ over the Cmin™ chord. Example #1 (shown on the next page) illustrates this approach. IMPROVISING CONCEPTS - Page 1 MIKE STERN By ART RENSHAW EXAMPLE 1: I Cmin? = C+Eb4G—Bb Produces R4b3959b7 Il Dmin’ DoF3A3C 9119139R Tl Eb4GBb3D 63-5679 IV FHASC4Eb : Produces NoBR+3 | Vv Gmin’ ~ = G3Bb DF Produces 53679511 e VI Amin’ss = ASCHEb3G Produces 135R3b395 VII Bbmaj’ Bb>D3F3A Produces 67-99-3119913 Therefore, by superimposing the diatonic harmony, we can get "y all the extensions or color tones (9", 11", and 13"). Try playing the above example and fisten. Sing the "C" Dorian over Cmin". 7 Take the triads on the “III" and “IV" chords. They are Ebmaj and Fmaj triads. Superimpose these triads over Cmin"*. Leam the triads all over the guitar neck. Listen and sing these 6 triads over the chord. Make lines from these ideas. IMPROVISING CONCEPTS - Page 2 | MIKE STERN By ArT RENSHAW 1. HARMONIC ANALYSIS: continues B. Over any minor (1-635) or minor extended chord (1-3b3-5-+b7-99-+11-913) play the Melodic Minor Scale from the tonic of the chord. Cmin® = C D Eb F G A B C 1 2 63 4 5 6 7 8(1) Harmonize the “C* Melodic Minor Scale to expose triads and diatonic harmony: I 0 m Vv v VI VI ‘Cimin(maj’) Ebmaj’ss F G’ Amin’bS | Bmin’bS By knowing the diatonic harmony, we can superimpose these sounds over the Cmin"™ chord. By doing this we get the “Maj” over the "b7” of the chord. This introduces the principle of leading tones. In this case the "Maj™ note ("B") is our leading tone. Example #2 (shown on the next page) illustrates this approach. IMPROVISING CONCEPTS - Page 3 MIKE STERN By ART RENSHAW EXAMPLE 2: = C3EbGBk Produces Rb3959h7 I Dmin’ = DoFIA SC Produces 9411 139R }___* sans Ebmaj’ss = Eb >GBk 2D Produces b3-95-94799 IV F = FACED Produces 11-913 9R-9b3 V Gc s GBiD IF Produces Sh739911 VI Amin’bs = AVC HEb 9G Produces 135R-+b395 VII Bmin’s5 s BID FA Produces 479911913 Therefore, by playing the Melodic Minor Scale over Cmin" we are creating dissonance and motion. Play these ideas over the chord. Listen and sing the "C" Melodic Minor Scale over the chord. Make lines from these ideas. IMPROVISING CONCEPTS - Page 4 C MIKE STERN ) By ART RENSHAW | 1. HARMONIC ANALYSIS: contnuec... ©. Over any minor (1-63-95) or minor extended chord (1-9b63-95-9b 799-911-913) piay: 1. Blues Scales on the tonic of the chord, up a whole-step, and up a Perfect 5", 2. Minor Pentatonic Scales on the tonic of the chord, up a whole-step, and up a Perfect 5. min’'= C D Eb F G A_ Bb C ="C€" Dori 1 2 b3 4 5 6 b7 8(1) Harmonize the “C* Dorlan Scale to expose triads and diatonic harmony: I I i Cmin” Dmin? | Ebmaj’ F Therefore, over Cmin’ try playing "C" Minor Blues or "C” Minor Pentatonic (on tonic), "D" Minor Blues or "D" Minor Pentatonic (up a whole-step), or "G" Minor Blues or "G" Minor Pentatonic (up a Perfect 5th). Listen!!! Make lines from these ideas. MIKE STERN By ART RENSHAW |. HARMONIC ANALYSIS: continues... ce Over "unaltered" Dominant chords play the Lydian 67 mode from the tonic of the chord (4"" mode of Melodic Minor). (AZ ee Ay Bs Chle DS SE aE? (Gaara i289 © 3 G6 Ww B® Harmonize the "A" Lydian b7 mode to expose triads and diatonic harmony: I 0 ml IV Vv VI vol A’ B’ C#min’bs | Détmin’bs | Emin(ma’) | F#min’ Gmaj'ss Therefore, try superimposing these ideas over A™. Also try triads. Listen!!! Make lines from these ideas. IMPROVISING CONCEPTS - Page 6 / . MIKE STERN By ART RENSHAW |. HARMONIC ANALYSIS: contnues.. E. Over “altered” Dominant chords play Dominant Pentatonics (Dominant Pentatonic = 12-93-9567) from the Super Locrian mode (7" mode of Melodic Minor). Bisoes 5 fb © D ty © AB 1 bo9 #9 3 bS #5 67 8(1) Harmonize "B" Altered Scale to expose triads and diatonic harmony: > I ag m IV Vv VI vo | Bmin’ss | Cminmg’)| Dmin’ | Ebmaj’ss F G Amin’»s NOTE: Bmin’s5 is our disguised B’ alt. chord, because the notes of the Bmin’ss chord also express B’ alt. notes. 1 b3 b5S b7 Bmin’ts| = B D F A OR 1 #9 bS b7 = | Briss By superimposing all the diatonic arpeggios from diatonic harmony of B Altered, we are using all the altered notes. Example #3 (shown on the next page) illustrates this approach. IMPROVISING CONCEPTS - Page 7 MIKE STERN By ART RENSHAW EXAMPLE 3: @ @ COT I Bmin’ss B+D3F3A R#9 b5 47 I Cmin(maj’) = C3Eb>GB Produces b9-3345R Dmin’ = D>F>A>C Produces #9->b5—>b7b9 5 IV Ebmaj’ss = Eb-GB3D Produces 3485 R 89 F = FHABCED Produces 6567-39-33 = G->B=DF #5ARH9b5 e A?C3Eb3G b7 69-93-9485 Try playing Dominant Pentatonics over b5 and #5. Bien. —> "E:DominantPentatonic F G A C Eb 1 2 3 5 »7 (Dominant Pentatonic on b5) — > "G"DominantPentatonic G A B OD F 1 2 3 5 b7 ) (Dominant Pentatonic on #5) IMPROVISING CONCEPTS - Page 8 MIKE STERN ) By ART RENSHAW I. HARMONIC ANALYSIS: continued... Therefore, by playing these two Pentatonics ("F" and "G") we hear the altered chord very well. Try playing "F" and "G" Dominant Pentatonics over B’soss. Listen!!! Create lines using this approach. Try to sing the Altered Scale over altered chords. F. _ Over"altered” Dominant chords (especially #5) play the 5th mode of the Harmonic Minor Scale from the Root of the altered chord. » 5th mode of Harmonic Minor Scale A‘s= A Bb C# D E F G A 1 bo 3 4 5 b6 b7 8(1) (#5) Harmonize the Sth mode of the Harmonic Minor Scale to expose triads and diatonic harmony: Try superimposing these diatonic arpeggios over ) A’#5. Also try all the triads over this chord. IMPROVISING CONCEPTS - Page ® MIKE STERN By ART RENSHAW "AETER YOU" By Mike Stem ve ¢ Eni Cond) Em: Alet GIA be et fa, Gli me Eni Dwi? Bui? oi 5 + $ ‘Bui Co) i at at I I ‘Ord Fas J a OF ¢ (ile ee Dwi” peo Gui" Cui" BP FIA - ee es og et PO Gri? ag, (oi Bi" Gri? wi? Boi A Alay Ee = ae at Alt Gant 8A cola ——————— DS,AL CoDA) 1 ble IMPROVISING CONCEPTS - Pago 10, IKE STER > By ART RENSHAW "AETER YOU" - SOLO CHANGES Asus 4 Bm? Asvs4 bai? Ases4 Bai? 4 Bui? Sui y Eni? Glo Ale# Gla ui? Exi" Glo Aule 2° 6 #4? Fong MIKE STERN By ART RENSHAW @ q "AETER YOU" - MIKE’S SOLO IMPROVISING CONCEPTS - Pago 12 MIKE STERN ) By ArT RENSHAW "AFTER YOU" - MIKE’S SOLO (Cont) MIRE SIERIN «q By ART RENSHAW @ i. TR RIBED SOLOS: The following solo of Mike Stern's is from the song “EAT TIME" on the Miles Davis’ album "Man with the Hom" (transcribed by Art Renshaw). IMPROVISING CONCEPTS - Page 14 MIKE STERN By ART RENSHAW Il. TRANSCRIBED SOLOS: continued. This next solo of Mike Stern's is from the song ROOSTER’ on Tiger Olkoshi's album (transcribed by Art Renshaw). wi Fun.” scone Variation within the same solo: Ga." |MPROVISING CONCEPTS

    También podría gustarte