|LearnJazzPiano.com archives: melody: chord tones on the strong beats & non-chord tones on the weak beats|
|7 -- 07/13/2007, 00:22:39 -- #35841|
improvise or otherwise
While it is certainly true that in virtually all musics, the melody tends to have chord tones on the strong beats and non-chord tones on the weak beats (acting as passing tones, neighbors or encirclement figures), what I think has not been addressed (at least not recently) is the fact that Jazz has a strong propensity to use syncopation to accent beats which are not, in fact, the "on-beats" (1 2 3 4).
A "pushed one" (the "and of the four") or a "pushed three" (the "and of the two") as well as other syncopated accents often serve as the "landing strips" for the melodic line.
I was thinking about this the other day, and thought it ought to be addressed.
|elwapo -- 07/13/2007, 00:57:53 -- #35841|
|Good Topic 7 p. I like your analogy of "Landing Strips" for the melodic line. I found that working through solos and underlining the notes that fall on the on beats (strongest beats being 1 and 3)and then analysing the approach techniques to these tones has decoded in a sense the previously unattainable idea of improv for me. I found that getting to know my intervals was vital as I could see in alot of cases that strong chord tones on the on beats were being approached on the up beat by say a 4th interval from below or from a minor 3rd interval from above etc. Of course, I have come across alot of other devices but its a great way for me to understand whats going on!|
|Jazz+ -- 07/13/2007, 13:52:33 -- #35841|
|That's what Hal Galper's Forward Motion theory calls "advanced forward motion" or anticipation in other words. The listener hear it as an excited downbeat even though it's landing on the "+"|
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