The first notated improvisation in this chapter once again highlights melodic and rhythmic patterns. By this stage it is hoped that the user is already highly familiar with this. Therefore, it has been done within the context of the Blues scale as opposed to the Pentatonic. The Page following this introduces Contour. Indeed, as the analysis of the transcriptions revelaed, the overall shape of a solo contributed to strengthening the compositional qualities. Recognising the background of the learner, I have chosen to use Eric Satie's Gymnopodie to convey this. As the melody ascends and decsends, the dynamics reflect this.
The page following this has the same solo, but this time the dynamics reflect the shape of the melodic line. The learner can hear the effect of this on the CD. Finally, the user gets the chance to improvise. The dynamics that have been written in act as a guide for how to achieve a successful sense of contour. From the previous two examples it is hoped they understand how to do this. The dynamics are also heard on the CD accompaniment.
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