Triadic Chromatic Approach Principles & Supplements
About This PDF The Music of George Garzone & the Triadic Chromatic Approach DVD Approach DVD fully illustrates how to apply the Triadic Chromatic Chromatic Approach as an improviser. However, this PDF provides supplemental material to help visualize the concept.
Why are transcriptions from the DVD performances not supplied? George Garzone believes that to fully understand and execute his concept, it is very important to hear the sound sound of the “Triadic Chromatic Approach” internally. internally. Therefore, no transcriptions are supplied from the performances on the DVD. However, written examples have been included in this PDF to ensure comprehension on how to construct these complex harmonic lines.
Before You Start To master the “Triadic Chromatic Approach”, you y ou first need to ensure that you can execute all the triads on your instrument. If you do not feel confident playing the triads, please go through the preparatory exercises before beginning to play the “Triadic Chromatic Approach”.
About This PDF The Music of George Garzone & the Triadic Chromatic Approach DVD Approach DVD fully illustrates how to apply the Triadic Chromatic Chromatic Approach as an improviser. However, this PDF provides supplemental material to help visualize the concept.
Why are transcriptions from the DVD performances not supplied? George Garzone believes that to fully understand and execute his concept, it is very important to hear the sound sound of the “Triadic Chromatic Approach” internally. internally. Therefore, no transcriptions are supplied from the performances on the DVD. However, written examples have been included in this PDF to ensure comprehension on how to construct these complex harmonic lines.
Before You Start To master the “Triadic Chromatic Approach”, you y ou first need to ensure that you can execute all the triads on your instrument. If you do not feel confident playing the triads, please go through the preparatory exercises before beginning to play the “Triadic Chromatic Approach”.
INDEX
Principles of The Random Triadic Approach..………………………... p. 1 Principles of The Random Chromatic Approach……………………… p. 4 Triadic Chromatic Approach Exercise Exer cise Examples……………………... p. 6 Preparatory Exercises………………………………………………….. p. 8 Lead Sheets of Music Standard Chord Progression I (Concert, Bb, Eb)..….......... •
•
p. 9
Standard Chord Progression I with George Garzone Solo* (Concert, Bass, Bb, Eb)..…...........................................................p. Eb)..…...........................................................p. 12 Triadic Chromatic Approach * Example of the Triadic
•
Standard Chord Progression II (Concert, Bb, Eb)…………...
p. 16
•
Hey, Open Up (Concert, Bass, Bb, Eb)………………………… p. 19
•
The Mingus That I Knew (Concert, Bass, Bb, Eb)……………... p. 23
•
Modal Progression (Concert, Bb, Eb)…………………………... p. 27
-1-
Random Triadic Approach (Major/Minor/Diminished/Augmented)
Basic Principles 1. Triads MUST be connected with a half-step in between 2. The same inversion CANNOT be repeated back to back Select any major, minor, diminished or augmented triad to begin. The C Major triad in root position has been selected for Example 1.
Example 1
After playing C E G ascending, play either one half-step up to Ab ( Ex. 1a) or one halfstep down to Gb ( Ex. 1b) as starting notes of the next triad.
Example 1a
Example 1b
The next triad can be any triad except Ab Major Root Position (Ex. 2a) if Ab was chosen as the starting note or Gb Major Root Position ( Ex. 2b) if Gb was chosen as the starting note. Please also see the next section on Displaced Permutation.
Example 2a
Example 2b
Ab Major Triad – do not use
Gb Major Triad – do not use
-2-
Appropriate triad choices are given in Examples 3a and 3b. It is suggested that the best result could be achieved by using a triad that goes in a different direction then the preceding one. Notice that Example 3a uses a Displaced Permutation of the Db Major triad. For more on Displaced Permutation, see the next section. Example 3a
Example 3b
Db Major Triad
Gb Major Triad
Displaced Permutation The sound of a triad can be affected by a Displaced Permutation of that triad. This idea is illustrated by using the C Major triad (C E G) in Examples 4a and 4b. Example 4a
Example 4b
Examples 4a and 4b are both considered starting root positions of C Major as they both begin with the root of the chord and contain the notes from the C Major triad. However, the sound of the C Major triad is affected in Example 4b (C G E) as the third (E) and fifth (G) do not sound in the traditional order that we see in Example 4a. Example 4b (C G E) is described as a C major triad root position with displaced permutation . Once the triad is permutated, it is treated as a different inversion in this concept. Therefore the same inversion can be repeated back to back as long as one of the two triads uses a displaced permutation.
-3-
The following examples illustrate the improper method of the random triadic approach ( Ex. 5a) and the proper method of the random triadic approach (Ex. 5b). Due to the chromatic nature of this concept, please note that if an example has no time signature, all notes are natural unless there is a sharp or flat.
Example 5a – Improper Method
Example 5b – Proper Method
So far, all the examples have dealt with major triads. Please know that the Random Triadic Approach applies to minor, diminished and augmented triads as well.
-4-
Random Chromatic Approach
NOTE: Due to the chromatic nature of this approach, all notes in the examples are natural unless there is a sharp or flat in front of it. Basic Principles 1. The constructed melodic lines MUST stay within an interval of a rd Major 3 . 2. The same intervals CANNOT be repeated consecutively in the same rd direction within the chosen Major 3 . The idea of the Random Chromatic Approach is to avoid repeated patterns. rd
Pick any note and find the major 3 above or below it. In Example 6 , the note “C” was rd chosen as the starting point and “E” is the major 3 above it. Example 6
rd
Within that major 3 exists 5 notes: C C#(Db) D Eb(D#) E (enharmonic spellings may be used). Any of these notes may serve as a starting point (Ex. 6a).
Example 6a
The note “C” has been chosen as the starting point. The next note can be any one of the rd notes that exist within the major 3 ; D has been chosen for Example 6b. Example 6b
-5-
Since the interval between C and D is a whole step, the next note cannot ascend using a whole step up to the note E . In Example 6c, Eb has been chosen as the next note, and Db after that. Notice that the intervals are not the same consecutively.
Example 6c
While it is possible for the note to descend a whole step to C, this creates the likelihood of the melody becoming “locked out” of using that interval (whole step in this case) again because a pattern has been created by going back to the original starting note; if the choice to descend a whole step is made, then the next interval cannot be a whole step up or else a pattern will start to emerge; Example 6d shows how with the addition of 2 more notes of different intervals help to avoid the line becoming too pattern-like. Example 6d
Please see Examples 6e and 6f for proper and improper methods of the Random Chromatic Approach. For an example of combining the Random Triadic and Chromatic Approaches (i.e. the Triadic Chromatic Approach), please see Have You Met Miss Jones on pp. 13-16. Example 6e – Improper Method
Example 6f – Proper Method
-6-
Triadic Chromatic Approach Exercise Examples IMPORTANT NOTE:
If an example has no time signature, all notes are natural unless there is a flat or sharp
.
Major Triads in Random Inversions with a half-step in between.
Continue...
Minor Triads in Random Inversions with a half-step in between.
Continue...
Random Chromatics within a Major 3rd.
Continue...
Continue...
-7-
Free Random Chromatic Movement Over the Octave, Not Larger Than a Major 3rd.
Continue...
Random Chromatics Over a Chord. CMaj7 a) Continue...
G+7
b) Continue...
Random Chromatics Over II-7 V7 IMaj7. NOTE: These example have time signatures and barlines, therefore normal notation rules apply for accidentals.
D-7
G7
CMaj7
a) Continue...
D-7
G7
CMaj7
b)
Continue...
-8-
Prepartory Exercises for the Triadic Chromatic Approach IMPORTANT NOTE:
If an example has no time signature, all notes are natural unless there is a flat or sharp
.
Symmetrical Major Triads Ascending and Descending with half-steps in between.
a)
Continue...
b)
Continue...
Major Pentatonics (1, 2, b3, 5) Ascending and Descending with half-steps in between.
a)
Continue...
b) Continue...
Symmetrical Minor Triads Ascending and Descending with half-steps in between.
a)
Continue...
b)
Continue...
Minor Pentatonics (1, 2, b3, 5) Ascending and Descending with half-steps in between.
a)
Continue...
b)
Continue...
Concert
-9-
[Standard Chord Progression I] ÿ
±
F 7
F
# o
G -7
7
C 7
& c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ A -7
D -7
G -7
C 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
5
Ÿ F
±
F
7
# o
G -7
7
C 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
9
A -7
D -7
C -7
F 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
13
⁄B
b±
b
b
A -7
7
D 7
G
b±
7
E -7
A 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
17
b
±
A -7
±
F
D 7
b
b
D 7
G Maj7
G -7
C 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
21
¤ F
7
# o
G -7
7
C 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
25
A -7
D 7
G -7
C7
F
±
7
G -7
C 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
29
B-Flat
- 10 -
[Standard Chord Progression I]
±
ÿ
G 7
G
# o
A -7
7
D 7
& c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ B -7
E -7
A -7
D 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
5
Ÿ G
±
# o
A -7
E -7
D -7
G
7
7
D 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
9
B -7
G 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
13
⁄
C
±
b
b
B -7
7
E 7
A
b±
7
#
B 7
A -7
D 7
F -7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
17
E
±
b
B -7
7
b
E 7
b
A Maj7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
21
¤
±
G 7
G
# o
A -7
7
D 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
25
B -7
E 7
A -7
D 7
±
G 7
A -7
D 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
29
E-Flat
- 11 -
[Standard Chord Progression I]
±
ÿ
D 7
D
# o
7
E -7
A 7
E -7
A 7
& c ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ #
F -7
B -7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
5
Ÿ D
±
D
7
# o
E -7
B -7
A -7
7
A 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
9
#
F -7
D 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
13
⁄ G
±
F -7
7
b
E
b
E Maj7
B 7
b±
7
#
F 7
#
E -7
A 7
C -7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
17
B
±
F -7
7
B 7
b
&’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
21
¤ D
±
D
7
# o
E -7
7
A 7
&’’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
25
#
F -7
B 7
E -7
A 7
±
D 7
E -7
A 7
&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
29
Concert
- 12 -
[Standard Chord Progression I with George Garzone Solo] ÿ
±
NOTE: This Solo by George Garzone is an Example of combining the Random Triadic and Chromatic Approaches (i.e. the Triadic Chromatic Approach)
# o
G C œ œ b œ b œ b œ b œ n œ b œ œ œ b œ b œ œ b œ # œ œ b œ œ œ œ bœ b œ œ œb n œ n œ œ & c œ œ œ œb A D G C b œ œ b œ b œ œ b œ œ œ œ # # œ n œ # œ # œ œ b œ b œ n œ œ œ b œ œ œ œb b œ # œ œ œ & œ œ# œ œ œ F
F
7
-7
±
-7
-7
5
Ÿ F
7
7
-7
# o
7
G C œ b œ b œ œ œ # œ n œ œ œ œ b œ b œb œ œb b œ œ œ œb œ # œ n œ œ œ œ œ b œ œ œ œ œ œ & A D C F # œ œ b œ œ b œ b œ œ œ b œ œ œ œ b œ œ œ œ # œ œ # œ œ b œ œ œ œ œ # n œ œ # œ œ # œ # œ œ & F
7
7
-7
7
9
-7
-7
-7
7
13
⁄B
b±
b bœ
7
A -7
7
-7
7
7
b
D 7
G
b±
E -7
A 7
b œ b œ œ b œ b œ œ œ # œ n œ œ œ œ b œ œ b œ œ œ œ b ˙ œ œ # œ œ b œ b œ & œ œ D± Ab Db Gb G C œ œ b œ œ b œ b œ # œ œ œ œ b œ œ b œ œ œ b œ œ œ b œ n œ b œ œ œ œ œ# œ œb œ # œ n œ b œ & ¤ F± G F # o C œ b œ b œ n œ œ œ œ b œ n œ œ œ # œ œ b œ œ œ # œ œ œ b œ œ b œ œ b œ œ b œ b b œ œ œb œ œ & 7
17
7
Maj7
-7
7
21
-7
7
25
A -7
D 7
G -7
C 7
F
±
7
G -7
C 7
œ œ b n œ œ œ b œ œ n œ œ œ b œ œ œ œ œ œ œb œ œ œ œ œ œ b n œ b œ œ œ œ b œ œ b œ œ b & # œ œ
29
Concert - Bass Clef
- 13 -
[Standard Chord Progression I with George Garzone Solo] NOTE: This Solo by George Garzone is an Example of combining the Random Triadic and Chromatic Approaches (i.e. the Triadic Chromatic Approach)
ÿ
F ± 7
F # o7
G -7 C 7 œ ? c œ œ œ b œ b œ b œ b œ # œ œ œ b œ œ œ œ b œ œ n œ b œ b œ b œ b œ œ œ b œ b œ œ b œ n œ n œ œ œ A -7 D -7 G -7 C 7 ? œ # œ œ œ œ b œ b œ œ b œ # œ n œ œ b œ n œ # œ œ œ b œ b œ œ œ b œ b œ œ # œ œ b œ # œ œ œ # œ œ
5
Ÿ F ± 7
F # o7
G -7
C 7
? œ œ œ œ b œ b œ œ œ b œ # œ b œ œ n œ œ œ b œ œ œ œ b œ œ b œ b œ œ œ b œ œ # œ n œ œ œ
9
A -7
D -7
C -7
F 7 b œ ? œ b œ œ œ œ œ b œ b œ œ b œ # œ œ # œ # œ œ n œ œ # œ œ œ œ b œ œ œ # œ œ œ œ œ # œ # œ
13
⁄ B b± 7
A b-7
D b7
G b± 7
E -7
A 7
? œ œ œ b œ œ b œ b œ œ b œ # œ œ œ n œ œ œ b ˙ œ œ b œ œ œ œ # œ œ b œ b œ b œ b œ
17
D ± 7
A b-7
¤ F ± 7
F # o7
D b7
G bMaj7
G -7
C 7
? œ # œ œ œ œ b œ œ œ œ b œ œ œ œ # œ œ œ b œ b œ œ b œ n œ b œ b œ œ n œ b œ œ b œ b œ œ # œ
21
G -7
C 7
? œ œ œ œ œ b œ œ b œ œ # œ œ # œ œ b œ œ b œ b œ n œ n œ œ œ b œ b œ b œ œ b œ œ b œ œ b œ œ
25
A -7
D 7
G -7
C 7
F ± 7
G -7
C 7
? œ œ œ œ œ b œ b œ n œ b œ b œ b œ œ œ n œ œ b œ œ œ b œ œ n œ œ œ b œ œ œ œ œ œ b œ œ œ # œ œ
29
