Curso de Blues y Jazz

8/10/2019 Curso de Blues y Jazz

http://slidepdf.com/reader/full/curso-de-blues-y-jazz 1/10

1

Conceptos teóricos referentes a la práctica de estilos improvisatorios

Compilado por: Bach. David Ugalde

Conceptos Básicos I

Tonalidad - Modalidad

Intervalos

Tonos y semitonos

Mayores, menores, justos, aumentados y disminuidos

Intervalos melódicos: Escalas

Intervalos harmónicos: Acordes

Conceptos Básicos II

Construcción de acordes

Triadas: Mayor, menor, disminuida y aumentada

Inversiones

Acordes con sétima: 7, Maj7, min7, semidisminuido, disminuido.

Extensiones: 9, 7 b9, 13, 13 b9 y b9 b13

Acordes diatónicos

Armaduras y su identificación

Conceptos Básicos III

Notación de acordes

Símbolos: Tónica / Calidad / Extensiones

Numeral romano: Relación tonal

La escala mayor y las 3 escalas menores

Acordes cromáticos



2

Movimientos armónicos

Movimientos armónicos

Principios armónicos

Patrones cromáticos: movimiento acordal basado en tónicas lejanas a la armadura

Guía general para el movimiento cromático

Modulación

Lineamientos generales

Localización de la modulación

Modulación deceptiva

Cadencia deceptiva

Funciones acordales

Acordes y funciones

Mayor

Dominante

Menor

Semidisminuido

Disminuido

Aumentado

Dominant Function

-The Dominant Cadence [Vx to IM]-

-Augmented approach to IM [V+ to IM]-

Subdominant Function

-The Minor Seventh Chord [ii- to Vx]-

Tonic Function

----CHORD EXTENSIONS-

Unresolved Tensions



3

-Major Extension-

-Minor Extensions [i Minor]-

-Minor Extension [Subdominant m]-

-Minor Ñ Extension-

----Diminished Extension [o chord]-

-Dominant Extensions-

Function & Chord Quality

--th Chords-

-th Chords-

----Augmented th Chords-

-th Chords-

Parallel Interval Structures

Principle of Mixed Positions

-CHORD TENSIONS-

General Considerations

-CHORD PATTERNS-

The Chord Pattern

-CIRCLE SEQUENTIAL PATTERNS-

General Guidelines [Circle Sequential Patterns]

-Ii V-

-Ii V I-

-Extended Sequential Patterns-

Summary [Circle Sequential Movement]

----DIATONIC STEPWISE PATTERNS-

-I Maj ii min iii min-

-Ii min iii min IV (Maj or min)-

Summary

-Generally-

-Extension Patterns-



4

Ending delaying arrival at the I chord

-The Tag Ending-

Chord Time Extension

-Retrograde Movement-

----MOVING LINE PATTERNS-

The Descending Line

-The /#/ pattern-

-#/ pattern-

-The //#/ or ##[R]/#// pattern-

-The xÑ Passing Tone Line Embellishment-

The Ascending Line

-The Augmented Chord Passing Tone Line Embellishment-

The Ascending/Descending Line

-th Movement [To enrich patterns]-

The Descending/Ascending Line

-Top Voice Movement [To enrich patterns]-

-OTHER MOVEMENT-

BASS LINE MOVEMENT

-Descending on Major or Minor Chords-

-The Cadential (/)-

Parallel Movement

-Parallel Dominant Chords-

-Parallel Major Chords-

-Parallel minor Chords-

-MINOR TONALITIES-

Approaches

-The ii halfdim V domÑ i min-

-Chord Pattern variations in minor keys-

----MOVEMENT POSSIBILITIES-



5

Vx I

ii- - Vx

Tonic

Relative V of V

Relative V of ii

Relative IV

Relative iv-

ÑIIx [Tritone] Sub

Cadential Axiom

-Chordal Operations I-

Harmonic Chord Generators

Dominant Operations

-The V Prefix [V of V]-

-The Ñx Substitute [ÑIIxSub/Tritone Sub]-

-ivo Substitute for the Vx [ivoSub]-

-Chordal Operations II-

Subdominant Operations

-The IV Maj Prefix-

-The ii V Elaboration [an embellishing technique]-

-The ÑVIIx Substitute for the iv min [iv-Sub]-

The #iv halfdim substitute for a ii- chord [ii- Sub]

Tonic Operations

-The iii min substitute for I Maj chord [I Maj Sub]-

-Chordal Operations III-

Substitution Set Chart

V Set

IV Set

Iv min Set

#Ii dim Set



6

I Maj Set

Examples

I VI II V

Generalizations: Substitution

----Chordal Operations IV-

Linear Chord Generators

-Complete Neighbor Prefix-

-Incomplete Neighbor Prefix-

-Passing Tone Prefix-

-The #ii dim Prefix-

-Subdominant Modal Intensification-

----MODES: BASIC PRINCIPLES I-

Scale Materials

-The Modes-

Modal Harmony

-Simple Chords are preferred-

Modal Reference

-MODES: BASIC PRINCIPLES II-

Characteristics

-Scale Steps-

-Chords [Triads]-

-Extended Chords-

-Color-

Definitions

-APPLIED: JOHN MEHEGAN-

Modes and Quality

-Modes existing in any Key-

The Modes

-Major Mode [Ionian/Lydian]-



7

-Dominant Mode [Mixolydian]-

-Minor Mode [Dorian/Phrygian/Aeolian]-

-Half Diminished Mode [Locrian]-

-The Diminished Mode [Artificial]-

APPLIED TO EXTENDED VOICINGS

-Major-

-Dominant-

-Minor-

-Half Diminished-

-Diminished-

Minor Scale Modes

----BeBop: Tensions in Chord Voicings-

General Considerations

Chord Voicings

-The model built in Thirds-

-The model built on Fourths-

-Polychordal Voicings-

-Tonal Considerations in Melodic Organization-

----BeBop: Tensions-

Tonal Characteristics/Chordal Considerations

-Possibilities Grouped by Harmonic Function-

Tension/Resolution on Substitution Sets

-The I Set-

-The IV Set-

-The iv min Set-

-The Vx Set-

-The #iio Set-

Melodic Resolution

-Level -



8

-Level -

-Melodic Line Summary-

----Chords by Fourths [ Note]-

Quartal Materials

Three note chords by ths

----Chords: Fourths [ Note +]-

Four Note Chords by ths

Multi-Note Chords by Fourth

----Other Scales-

Pentatonic

Hexatonic Scales

Chromatic Scales

Synthetic Scales

-NON HARMONIC TONES-

Chromatic Tones

-Utilization-

Sensitive Tones

-The ---

Non Harmonic Tones

-Passing Tone-

-Neighboring Tone-

-Unprepared Neighboring Tone-

-Appogiatura-

Escape

-Anticipation-

-Suspension-

Conclusions

----HARMONIZING NON HARMONIC TONES-

Possibilities



9

----THE BLUES-

Harmonic Forms

-Basic: Major-

-Basic: Dominant-

-Basic: minor-

-Traditional-

-Parker Revision: Major-

-Parker Revision: minor-

Creating Different Blues Progressions

-SHEET MUSIC CONVERSION I-

Similarities and Differences in Concept

-Pop Tune-

-Jazz Tune-

Considerations

-Harmonic Rhythm-

----SHEET MUSIC CONVERSION II-

Procedure

Solutions

Revising Sheet Music Chord Symbols

-When only Triads Are Given-

-Inner Line Movement-

-Bass Line Movement-

-Non Harmonic Tones-

-Chords a rd Apart-

-Vx Approaches-

o (dim) Symbol Is Only Present

-Chord Extensions On Same Root Quality-

-FORM-

Definition



10

Jazz Forms

-Phrase Length-

-Contrast & Repetition-

Bar Song Forms

-A-A-B-A-

-Others-

Latin Forms

-Examples-

Documents

Curso de Blues y Jazz