Harmonizing Over Structure |
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Mar 2 2010, 06:07 PM
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Well, what you've described will also work however you have some other options. The chords you've chosen happen to be I-IV-V in the key of G. This puts all the relatives that are enharmonic to G at your disposal for harmonizing:
G ionian A dorian B phrygian C lydian D mixolydian E aeolian F# locrian They're all the same 7 notes: G, A, B, C, D, E, F# and that's not quite the same as your D minor pentatonic but if you DO want to impose a pentatonic over those major chords, you can. Include the blue note (flatted fifth from the root of whichever chord is playing) and it will sound just fine. Different, but still fine. Try both, it should be an interesting exercise in modulating your melody rather than modulation in the chord progression. -------------------- ::jafomatic
 http://jafomatic.net/tunes/ <-- Here lies the master collection of my collaboration and other improvisation recordings. |
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Mar 2 2010, 09:24 PM
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Oh we're not done yet. Here's what you could play over each of those chords. Assuming you wrote them in order, which I didn't, it was V-IV-I in G. So:
While D is played, you can choose: - D minor penta - D mixo (relative to the tonal center of the song in G) - D ionian (It is still a D major chord, different center now) - B minor penta - B phrygian (relative to the song in G) - B aeolian (relative minor to the D chord) You can repeat this for all the others as well. C - C minor penta - C lydian (relative to the song in G) - C ionian (it's still a C major chord, yeah?) - A minor penta - A dorian (relative to the song in G) - A aeolian (relative minor to the C chord) G - G minor penta - G ionian - E minor penta - E aeolian (relative minor to G) I'm sure there's more ways to play around with those minors, and I'm also sure you don't want to go splattering all these notes out there at once. Pick and choose carefully, perhaps phrase by phrase, or section by section, throughout the song. At the very least, you should now be able to see your way through some interesting melodies; even if you're only using some of those relatives to establish a grace note here and there. -------------------- ::jafomatic
http://jafomatic.net/tunes/ <-- Here lies the master collection of my collaboration and other improvisation recordings. |
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Mar 14 2010, 08:54 PM
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That's a great explanation Jaf,
I think the key point here is to know what tonality you are in, (key) Once you settle that you it's fairly easy to see what scales you can use. Also remember that the chromatic scale can always be useful when improvising. -------------------- Visit my:
INSTRUCTOR PROFILE "If a composer could say what he had to say in words he would not bother trying to say it in music." Gustav Mahler Subscribe to my Youtube Channel here |
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