-
Points of interest:
The dim7 arpeggio from the root (F) and landing on the 5th (C) shows up, again (line7, bar 1, m20). This time, however the 5th is used as a half step approach note to a dim triad from the #5th (C#), and then moving back into another Dim7 arpeggio from the root That sets up a chromatic enclosure of the 5th.
The "6th lick" shows up again (line 9, bar 3, m28)
The final two bars switching to an E major triad arpeggio and landing on what amounts to an E7 chord over an F bass note seems like it comes out of left field. I don't know what to make of this, but I like it!
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06-13-2023 12:36 PM
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F MAJOR
Bar 1:
Beats 1 and 2: F pentatonic
Beats 3 and 4: B pentatonic
Bar 2:
Beats 1 and 2: F pentatonic
Beat 3: enclosure
Beat 4: Bb
Bar 3:
Beat 1: Bb
Beats 2-4: scale tones
Bars 4 and 5: scale tones
Bars 6 and 7:
Sequence in hemiola (12/8)
Bar 8: scale tones
Bar 9:
Beats 1 and 2: D-
Beats 3 and 4: D-7
Bar 10:
Beats 1 and 2: scale tones
Beats 3 and 4: E7
Bar 11:
Beats 1 and 2: scale tones
Beats 3 and 4: C7
Bar 12:
Beats 1 and 2: scale tones
Beats 3 and 4: C
Bar 13:
Beats 1- 3: scale tones
Beat 4: Fmaj7
Bar 14:
Beat 1: Fmaj7
Beat 2: enclosure
Beats 3 and 4: D-
Bar 15:
Beats 1 and 2: scale tones
Beats 3 and 4:
Bar 16:
Beat 1: scale tones
Beats 2 and 3: A-7
Beat 4: enclosure
Bar 17:
Beats 1 and 2: Fsus4
Beat 3 and 4: chromatic
Bar 18:
Beats 1 and 2: C pentat.
Beats 3 and 4: D- pentat.
Bar 19:
Beats 1 and 2: chromatic
Beat 4: A-7
Bar 20:
Beat 1: A-7
Beats 2 and 3: F-7(b5)
Bar 21:
Beats 2 and 3: F-7(b5)
Bars 22 and 23: sequence in fourths, F pentatonic
Bar 24:
Beats 1 and 2: cont. Sequence
Beats 3 and 4: chromatic
Bar 25:
F pentatonic
Bar 26:
Beats 1 and 2: cont. F pentaronic
Beats 3 and 4: A-7
Bar 27:
Beat 1: enclosure
Beats 2 and 3: D-7
Bar 28:
Bar 29:
Beats 1 and 2: chromatic
Beats 3 and 4: Fº
Bar 30:
Beats 1 and 2: Fmaj9
Beats 3 and 4:scale tones
Bar 31:
E
Bar 32:
Beat 1: E (cont.)
Beat 3: E7/F
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I have not connected as much with this exercise in F MAJOR as with the previous two.
There is even some scale that I have not been able to identify.
Now I am going to look at FWLineberry's analysis to compare it with mine and draw conclusions.
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Originally Posted by Travelrock
Again, were in agreement for the most part. the one exception that jumped out at me are measures 20 and 21.
Moving on to Bb major?
.
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I have to review that measure that we have different... Originally Posted by FwLineberry
Let's go for the new exercise!
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Bb MAJOR
Line 1 -Bar 1 (m1):
Beats 1 & 2 - Gm11 arpeggio inversions w/ diatonic approach notes (Bbmaj13)
Beats 3 & 4 - ''
Bar 2 (m2):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m3):
Beats 1 & 2 - Scale
Beats 3 & 4 - Variation on the "6th lick"
Line 2 -Bar 1 (m4):
Beats 1 & 2 - ''
Beats 3 & 4 - Scale with b3 passing tone
Bar 2 (m5):
Beats 1 & 2 - Bbmaj7 arpeggio
Beats 3 & 4 - ''
Bar 3 (m6):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 3 -Bar 1 (m7):
Beats 1 & 2 - ''
Beats 3 & 4 - Gm7 arpeggio
Bar 2 (m8):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m9):
Beats 1 & 2 - Pentatonic 4ths
Beats 3 & 4 - ''
Line 4 -Bar 1 (10):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 2 (m11):
Beats 1 & 2 - Bb major pentatonic
Beats 3 & 4 - Side slip (E major pentatonic)
Bar 3 (m12):
Beats 1 & 2 - Bb major pentatonic
Beats 3 & 4 - Side slip (E major pentatonic)
Line 5 -Bar 1 (m13):
Beats 1 & 2 - Bb triad arpeggio inversions with diatonic approach notes
Beats 3 & 4 -''
Bar 2 (m14):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m15):
Beats 1 & 2 - A7 arpeggio
Beats 3 & 4 - Scale
.Last edited by FwLineberry; 06-22-2023 at 11:29 AM.
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Points of interest:
- A variation on the "6th lick" shows up in line 1, bar 3 and line 2, bar 1.
- Line 4, bars 2 and 3 have what could be seen as a side slip - playing the same pattern up or down one fret - or it can be seen as playing pentatonic from the root (Bb) alternating with pentatonic from the b5 (E). This same technique showed up in the opening bars of the F major exercise.
Playing the major pentatonic from the b5 (or minor pentatonic from the b3) gives you the five non-diatonic notes relative to the key (all the outside notes).
- Once, again, playing a dominant 7 chord from the major 7 (A7, line 5, bar 3) is used, but this time it doesn't end up on the 3 (D). Instead it makes it's way to 5 (F).
.
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Bb MAJOR continued
Line 6 -Bar 1 (m16):
Beats 1 & 2 - Pedal lick
Beats 3 & 4 - ''
Bar 2 (m17):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m18):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 7 -Bar 1 (m19):
Beats 1 & 2 - Scale
Beats 3 - 3rd
& 4 - Enclosure
Bar 2 (m20):
Beats 1 - 4th
& 2 - Enclosure
Beats 3 - 3rd
& 4 - "6th lick" enclosure of R (Bb)
Bar 3 (m21):
Beats 1 - ''
& 2 - Bbmaj9 arpeggio
Beats 3 & 4 - ''
Line 8 -Bar 1 (m22):
Beats 1 - Enclosure of R (Bb)
& 2 - "6th lick" enclosure
Beats 3 - ''
& 4 - Bb major pentatonic
Bar 2 (m23):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m24):
Beats 1 & 2 - ''
Beats 3 & 4 - E major pentatonic
Line 9 -Bar 1 (m25):
Beats 1 & 2 - Bb major pentatonic
Beats 3 & 4 - E major pentatonic
Bar 2 (m26):
Beats 1 & 2 - Bb major pentatonic
Beats 3 & 4 - ''
Bar 3 (m27):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 10 -Bar 1 (m28):
Beats 1 & 2 - Major triad arpeggios ascending by minor 3rds
Beats 3 & 4 - ''
Bar 2 (m29):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m30):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 11 -Bar 1 (m31):
Beats 1 & 2 - Bb arpeggio w/ diatonic approach note to
Beats 3 & 4 - E arpeggio w/ diatonic approach note to
Bar 2 (m32):
Beats 1 & 2 - Bb arpeggio w/ diatonic approach note to
Beats 3 & 4 - E arpeggio w/ diatonic approach note to
Bar 3 (m33):
Beats 1 & 2 - Root (Bb)
Beats 3 & 4 -
.
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Points of interest:
The enclosure half of the "6th lick" shows up twice.
Line 7, bar 2:
This time, however, it's used to enclose the root rather than the 6th. So my argument for relative melodic minor is no good.
Line 8, bar 1:
Here it is used to enclose the 6th, like before.
I'm still not sure how to view this particular idea as a principle I can incorporate it into my own playing.
.
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Hello!
I've finished my analysis, although I've been practicing the exercise in Bb Major for a few days.
Next I'm going to send a message with my analysis, and then I'll check it with FwLineberry's. There is a compass that I can't relate to anything (Line 7, M20).
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Bb MAJOR
Line 1
M1:
B1 - 2: F
B3 - 4: Dmin
M2:
B1 - 2: Bb
B3 - 4: Gmin
M3:
B1 - 2: Bb scale and starts chromatic
B3: choomatic
B4: Bb scale tones
Line 2
M4:
B1 - 4: Chromatic (except for two notes)
M5: Bb
M6: Dmin
Line 3
M7:
B1 - 2: cont. Dmin, starts Bb
B3 - 4: Bb
M8: Bb
M9: here begins a sequence composed of thirds and fourths, with a slight variation in the third repetition
Line 4
M10: cont. sequence
M11 - 12: sequence alternating F and B, using grades I, II, IV, and V
Line 5
M13:
B1 - 2: Bb
B3 - 4: Bb scale tones
M14: Bb pentatonic scale tones
M15:
B1 - 2: A
B3 - 4: Bb scale tones
Line 6
M16 - 18: Baroque-inspired sequence in F
Line 7
M19:
B1 - 2: Bb scale tones
B3 - 4: C
M20: ?
M21:
B2: Bb9
B3 - 4: Bb9 (cont.)
Line 8
M22: ?
M23:
B1 - 2: Gmin7
B3 - 4: F or Dmin7
M24:
B1 - 2: Bb pentatonic scale tones
B3 - 4: Begins to draw E, which appears in the next bar
Line 9
M25:
B1 - 2: Bb pentatonic scale
B3 - 4: E pentatonic scale
M26 - 27: Bb pentatonic scale tones
Line 10
M28:
(A hemiola begins in this measure that inserts two measures of 12/8 into three measures of 3/4)
B1 -2: cont. Bb pentatonic, begins Db
B3: Db
B4: E
M29:
B1: cont. E, begins Gmin
B2: Gmin (cont.)
B3 - 4: Bb, begins Db
M30:
B1: Db (cont.)
B2 - 3: E, begins G
B4: G (cont.)
Line 11
M31:
B1 - 2: Bb
B3 - 4: E
M32: Same as M31, but one octave lower
M33:
B1: Bb
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I have been checking the two analyses, I have noticed that in the latter we have seen some things from different points of view, although I see your vision as more practical in some cases and more accurate in others.
I have to pay attention to those licks that you have extracted, to keep them in mind for future analysis, to see if I have the time I need in the coming weeks. In any case, I'm enjoying this work with Galbraith's book, thanks for the interesting contributions!
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With this next exercise in Eb major, it will be interesting to compare our individual analyses with the analysis the author has provided. I don't think his intent was to pick apart all the details, though.
.
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Also wanted to give a heads up that there is a missing natural sign in measure 19 (line 7, bar 1) on the final F note. If you compare that measure to the same measure in the analysis given on page 10, you will see the missing natural sign included for that note.
That group of notes should read Bb G Eb F.
.
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Thanks for notifying! Originally Posted by FwLineberry
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Eb MAJOR
Line 1 -Bar 1 (m1):
Beats 1 & 2 - Chromatic
Beats 3 & 4 - ''
Bar 2 (m2):
Beats 1 & 2 - Gm7 arpeggio
Beats 3 & 4 - Cm7 arpeggio
Bar 3 (m3):
Beats 1 & 2 - Fm7 arpeggio
Beats 3 & 4 - Bb major pentatonic
Line 2 -Bar 1 (4):
Beats 1 & 2 - Eb major pentatonic
Beats 3 & 4 - Bb major pentatonic
Bar 2 (m5):
Beats 1 & 2 - Gm7 arpeggio
Beats 3 & 4 - Ebmaj9 arpeggio
Bar 3 (m6):
Beats 1 - ''
& 2 - Enclosure
Beats 3 & 4 - Ebmaj7 arpeggio
Line 3 -Bar 1 (m7):
Beats 1 & 2 - Chromatic and first note of Bb major pentatonic
Beats 3 & 4 - Bb major pentatonic
Bar 2 (m8):
Beats 1 & 2 - Chromatic and first note of Bb major pentatonic
Beats 3 & 4 - Bb major pentatonic
Bar 3 (m9):
Beats 1 & 2 - Pentatonic 4ths
Beats 3 & 4 - ''
Line 4 -Bar 1 (m10):
Beats 1 & 2 - Chromatic
Beats 3 & 4 - Bº7 arpeggio
Bar 2 (m11):
Beats 1 & 2 - Chromatic
Beats 3 & 4 - Bº7 arpeggio
Bar 3 (m12):
Beats 1 & 2 - Chromatic
Beats 3 & 4 - B scale ??
Line 5 -Bar 1 (13):
Beats 1 & 2 - 4ths
Beats 3 & 4 - ''
Bar 2 (m14):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m15):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 6 -Bar 1 (m16):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 2 (m17):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m18):.
Beats 1 & 2 - ''
Beats 3 & 4 - ''
-
Points of interest:
Line 4, Bar 1 (m10) is a variation on the line we learned in the second part of Example 4, line 1 on page 6.
Line 4, Bar 3 (m12) - beats 3 and 4 look to me like some sort of B scale, but I'm not sure if that's where those notes come from. The Author's analysis is no help, ether. He just refers to all those enclosures and setups as appoggiaturas. I've never seen this term applied in this manner, and I'm inclined to disagree with this usage.
.
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Eb Major continued
Line 7 -Bar 1 (m19):
Beats 1 & 2 - B arpeggio with approach note to...
Beats 3 & 4 - Eb arpeggio with approach note to...
Bar 2 (m20):
Beats 1 & 2 - B arpeggio with approach note to...
Beats 3 & 4 - Gm arpeggio with approach note to...
Bar 3 (m21):
Beats 1 & 2 - B scale ??
Beats 3 & 4 - Eb arpeggio with approach note to...
Line 8 -Bar 1 (m22):
Beats 1 & 2 - Bb major pentatonic
Beats 3 & 4 - Scale
Bar 2 (m23):
Beats 1 & 2 - D7 arpeggio
Beats 3 - Scale
& 4 - Minor 3rd from 3rd (G)
Bar 3 (m24):
Beats 1 & 2 - Bº7 arpeggio
Beats 3 & 4 - Chromatic
Line 9 -Bar 1 (m25):
Beats 1 & 2 - D7 arpeggio
Beats 3 - Scale
& 4 - Gm9 arpeggio
Bar 2 (m26):
Beats 1 & 2 - Gm9 arpeggio with approach note to...
Beats 3 & 4 - Bb arpeggio with approach note to...
Bar 3 (m27):
Beats 1 & 2 - Bb arpeggio with approach note to...
Beats 3 & 4 - Bb arpeggio with approach note to...
Line 10 -Bar 1 (m28):
Beats 1 & 2 - Dm7 arpeggio
Beats 3 - Scale
& 4 - Gm7 arpeggio
Bar 2 (m29):
Beats 1 - ''
& 2 - Scale
Beats 3 & 4 - Cm7 arpeggio
Bar 3 (m30):
Beats 1 - Scale
& 2 - F7 arpeggio
Beats 3 - ''
& 4 - Scale
Line 11 -Bar 1 (m31):
Beats 1 & 2 - Agular sequence from Eb Lydian mode
Beats 3 & 4 - ''
Bar 2 (m32):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m33):
Beats 1 & 2 - Pentatonic 4ths (Bb major)
Beats 3 & 4 - ''
Line 12 -Bar 1 (m34):
Beats 1 & 2 - Pentatonic 4ths (Eb major)
Beats 3 & 4 - ''
Bar 2 (m35):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m36):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
.Last edited by FwLineberry; 07-15-2023 at 09:41 AM.
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Points of interest:
Line 7 - Eb and B form a chromatic mediant relationship. Gm breaks this relationship, unless you consider that chord as merely the upper notes of Ebmaj7.
Again, what looks like a fragment of a B scale shows up to lead from Gm back to Eb.
Line 8, Bar 2 (m23) - Dominant 7 from the major 7 (D) landing on the 5th (Bb) and down the scale to the 3rd (G) shows up once again.
Line 9, Bar 1 (m25) - D7 to Gm again
Line 10 - Sequence of arpeggios diatonic to Eb Lydian. The author has made a habit of switching to the Lydian mode at the end of these major exercises. This is the first time we've seen him incorporate a string of 7th arpeggios, though.
.
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Hello!
Here I bring my interpretation of the exercise in Eb Major. I have not previously looked at either the author's or FwLineberry's (I assume the risk of having interpreted some passage in a crazy way, but I prefer to take it as an exercise!).
Greetings!
Eb MAJOR
Line 1
M1:
B1-3: chromatic
M2:
B1-2: Gmin7
B3-4: Cmin7
M3:
B1-2: Fmin7
B3-4: scale tones
Line 2
M4:
B1-2: Ebmaj7
B3-4: Bbmaj7
M5:
B1-2: Gmin7
B3-4: Ebmaj7
M6:
B1: scale tones
B2: enclosure to Eb
B3-4: Ebmaj7
Line 3
M7:
B1-2: chromatic
B2-3: Bbmaj
B4: scale tones
M8:
B1-2: chromatic
B2-4: scale tones
M9:
B1-2: Ebmaj9
B3-4: Bbmaj9
Line 4
M10:
B1-3: chromatic
B3-4: Dº
M11:
B1-3: chromatic
B3-4: Dº
M12:
B1-3: chromatic
B3-4:
Line 5
M13-15: Sequence: This sequence forms a hemiola of 10 groups of three eighth notes, the first of which forms a descending Ebmaj scale, starting on F (skipping just the Eb) until reaching a Bb.
Line 6
M16:
B1-4: sequence (cont.)
B4: Eb pentatonic (starts)
M17-18: Eb pentatonic
Line 7
M19:
B1-2: Bmaj
B3-4: Ebmaj9
M20:
B1-2: Bmaj
B3-4: Ebmaj9
M21:
B1-2: Bmaj
B3-4: Eb
Line 8
M22: scale tones
M23:
B1-2: D7
B3-4: scale tones
M24:
B1-2: Dº
B3-4: chromatic
Line 9
M25:
B1-2: D7
B3-4: scale tones
M26:
B1-3: Dmin
B4: scale tones
M27: scale tones
Line 10
M28:
B1-2: Dmin7
B4: Gmin7
M29:
B1: Gmin7 (cont.)
B3-4: Cmin7
M30:
B2-3: Fmin7
B4: sequence based in fourths (starts)
Line 11
M31-32: sequence based in fourths (cont.)
M33: Bmaj9
Line 12
M34:
B1-2: Ebmaj7
B3-4: Cmin7
M35:
B1-2: Cmin11
B3-4: Eb pentatonic
M36: Eb (root)
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Once again, we agree on the overall structure of the exercise.
The only error I spot in your analysis is measure 30 should be F7 (F A C E) rather than Fm7 (F Ab C E).
I find your labeling of Bº7 as Dº7 interesting. They are the same notes, obviously, but seeing it as Dº7 makes more sense in the key. I missed seeing that connection.
--
I have been lazy with analyzing the Ab exercise. I was just working on that this morning. I'll get something posted soon.
.
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Yes, it seems that we agree on the main thing. Originally Posted by FwLineberry
I have already corrected the F7 in my working copy, it was a mistake.
I also see your G minor closer to the key of Eb major in measures 20 and 25, which I have also corrected my copy.
I'll get to the Ab Major exercise shortly. Step by step we approach the dominant zone!
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Hello!
This exercise seemed to me different from the previous ones in its general structure, although many of the author's resources are used. The main difference I see is that it is more "loose" harmonically and melodically speaking, and is more sequence based.
There are some melodic fragments, generally with alterations, that I have not been able to frame.
-
Ab MAJOR
Line 1
M1:
B1 : chromatic approach to the 3rd of Ab Major (C)
B2-4: skip to the 5th of Ab (Eb) and a cell descending in 2nds is repeated three times
M2:
B1 - 4: chromatic (except for 1 note)
M3:
Bb Major Scale
Line 2
M4:
B1 - 2: AbMaj
B4: enclosure of Eb (3rd of C min)
M5:
B1-2: Cmin
B3-4: enclosure of F
M6:
B1-3: Fmin11
Line 3
M7:
AbMaj Scale tones
M8:
B1-2: chromatic
B3-4: enclosure of F
M9:
B1-2: Fmin7
B3-4: ???
Line 4
M10:
B1-2: ???
B3-4: Cmin7
M11:
B1-2: Fmin7
B3-4: the same cell that the M1, B3-4
M12: AbMaj Pentatonic Scale
Line 5
M13-15: cont. Pentatonic Scale
Line 6
M16-17: sequence related two times in different octaves, based in AbMaj scale
M18:
B1-3: chromatic
B3-4: ???
Line 7
M19: ???
M20:
B1-3: chromatic
B4: enclosure of F
M21:
B1-2: Fmin Scale
B2-4: Fmin Blues Scale
Line 8
M22-24: Fmin Blues Scale
Line 9
M25:
Hemiolic Sequence in 5ths in 9/8
M26:
The final note of the previous sequence (F) is the first note of the new sequence, consisting of three notes, the first one higher and the two remaining forming a descending scale with notes of AbMaj/Fmin, arranged in hemiola, repeated 9 times.
M27:
Cont. the sequence
Line 10
M28:
Cont. the sequence
M29:
B1-2: end of the sequence
B3-4: ???
M30:
Starts a sequence very similar to the one at the end of the GMaj exercise, based in 5ths
Line 11
M31:
B1-2: sequence (cont.)
B3-4: Starts a last sequence based in AbMaj Pentatonic Scale
M32:
Sequence (cont.)
M33: end in Ab (root)
-
Originally Posted by Travelrock
I agree. It's a weird one. It's taken quite a bit to get it to flow under my fingers. The next one is similar.
I'll post my analysis a little later today.
.
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