A NOTE FROM DICK GROVE

Our latest edition of MUSIC NOTES has three articles. Dana Rasch is back with a great one for guitarists, talking about his ‘Dominant Pentatonic’ scale and its application on guitar.
He is currently in Mexico this month during a series of special clinics and concerts in and around Mexico City, sponsored by our Central American branch of the ‘School Without Walls’.

My subjects in this issue have to do with first understanding tempo changes (terms, how they work, how to apply them) and Part Two of a series on harmonizing melodies - a topic I hope is of interest to you!

Be sure and read the trailer at the end of the last article which will introduce you to our Music Talk Forum ? a platform for our students to talk to each other, network, and take advantage of the internet to help your musical pursuits. It will tell you how to participate and get the most of the Forum as well as the URL to get there.

Musically -

Dick Grove

One aspect of performance that is not safe to ‘take for granted’ is understanding how tempos can change in relation to each other and how different ‘feels’ in music are communicated. Although most versions of a song are done in one tempo and one feel, you will find yourself listening to many interesting arrangements containing changes of tempo and feel, and even
more interesting, you will hear a ‘different’ musical passage in which you ‘know something unique happened’ but don’t know what you heard - and so we may find out that what you heard is what we are talking about this month!

At any rate, the subject this month concerns areas that all good musicians should be aware of as far as recognizing and also as far as being able to play. It is an area that can be very dangerous. The reason for this is at the ‘point of change’ the slightest hesitation or lack of confidence can ‘wreck the train’. Ultimately, successful performances of changes of tempo and feels comes down to your ‘ear’ knowing what is going on, and being able to hear what needs to be played and ‘how’ it needs to be played. As this obviously is not a lesson to be applied on your guitar or keyboard, it is designed to only explain how these areas work, how they are written, spoken about and how to focus your ear to hear the tempo changes.

To understand and hear tempo changes we must start with the underlying basis of tempo.
Tempo means the even rhythmic pulse that music is played in relation to. In a previous MUSIC NOTES article on Counting Off a Band, I explained the relationship of Strong/Weak measures in the meter of our contemporary music, and how within each Strong / Weak measure unit, there are primary beats on the 1st and 3rd beats of a measure of 4/4 time. We related to these point of time as: 1X, 3X, 5X and 7X. The meaning of doing it this way instead of 1-2-3-4 and 1-2-3-4 is that saying 5X tells us automatically that we are on the 1st beat of the weak measure in this two measure relationship.

These primary beats are the ‘points of change’ of tempo, in particular, 1X. Occasionally 5X will be used, but not as much. Rarely we will find a tempo change occurring on 3X or 7X. Therefore in our discussion in this lesson, we will refer to 1X as the point of change.

If a tempo changes, it will be a tempo that is:

The term L’istesso means ‘the same’. That translates tempo-wise that the pulse remains the same from one tempo to the other. The important point here is that if you realize the pulse is the same, the you know the pulse of the new tempo before it occurs.This enables you to feel the new tempo ahead of time and makes the transition from one tempo to the other smooth and even.

When the L’istesso instruction is written on the music, it is placed immediately above the beat of the measure that the new tempo is to start. This can be called the point of change. This way you have a specific beat to focus on and start the new tempo. L’istesso tempo changes fall into two broad categories. The first (a) concerns going from Tempo 1 into a tempo twice as fast, or (b) going from Tempo 1 into a tempo half as fast..

The music in these situations would be presented as follows:

In each version of change of tempo, the player has to ‘feel’ the change of tempo at the ‘point of change’ indicated on the music, or decided upon verbally. It is not uncommon for the rhythm section (particularly drums and/or bass) to foreshadow the upcoming change by implying the new feel in the measure preceding the point of change. This ‘sets up’ the feel for the players and insures a smooth transition.

The examples above reflect 4/4 meter, which of course is the most common meter used and
applied to L’istesso tempo changes. In the examples above, the faster tempo is shown in Cut time (the C with the vertical line), which means to feel the tempo in ‘2' ·or on the primary beats of the strong and weak measures. The slower tempo is shown in 4/4, so that the feel is on each of the four beats in a measure. Cut time is only found in fast tempos.

L’istesso can and is also used to change tempos moving from 4/4 to 3/4, or 3/4 to 4/4. This is a bit trickier because the beat movement between the primary beats of the measure changes. In 3/4 meter, there is one primary beat per measure (1X). When the tempo change moves from 4/4 to 3/4, you orient your feel on the primary beats and the musical distance between each primary beat (which stays the same or L’istesso) is uniform. Between the primary beats however will be one pulse in the 4/4 tempo and two beats in the 3/4 tempo. It could be visualized somewhat like this: (bold print represent primary beats, plain print represent the beats in between”

Another very common L’istesso relationship is changing meters based on the pulse of each quarter note staying the same. For instance, you can move from a tempo in 4/4 to 3/4, and each beat is uniform, it is only containing 4 beats per bar in the 4/4 meter and only 3 beats per bar in the 3/4. So you could also move from 4/4 to 5/4 of 7/4 / 7/4 to 5/4 etc. You could move from 12/8 to 9/8 to 6/8 etc. This is simply changing the number of beats contained in one bar, whereas the the pulse distance between all of the beats will remain the same.  These are still L’istesso markings. When these type of L’istesso markings are found, it is generally referred to as using Mixed Meters. The meters are mixed instead of always staying in one meter, but the changing of meters are all built around having the same pulse or distance from beat to beat.

With the concept of the basic pulse staying the same, there are many possibilities of mixing meters that can be tied to this approach.. Here are just some:

One term not to be confused with Double Meter is called Double Time Feel. The word ‘time’ is often written as an ‘X’ - so ‘X’ means ‘time’. So you will see ‘Double X Feel’ written as instructions. When this is written it means the pulse and meter stay the same, but players play with the ‘feel’ that the tempo has been doubled. They play at double the pulse of the meter. This normally effects the rhythm section more than horns or strings. A string pad could be playing and reading whole and half notes at a tempo of MM = 80 and the rhythm section could be playing and feeling the pulse at MM = 160. to the coda sign (coda meaning the ending section).

A variation of the D.C.  sign is the D. S. sign. This means Del Signo or ‘go to the sign’:

Any tempo change that is not based on a L’istesso’   pulse relationship would be considered a ‘new tempo’. This means that the basic pulse of whatever meter the music is in has no relationship to the previous tempo - it is new. Therefore the new tempo or pulse must be defined. A musical conductor defines the new pulse with a preparatory motion. Players in a small group situation will do it with the leader or drummer cuing the band by counting off the new tempo or simply orally saying 2 beats to 2 bars countoff in the new tempo (you can refer back to our February MUSIC NOTES issue on Counting Off a Band).

The most important aspect of setting a new tempo is that there is always the need for the ‘preparation’ of the new pulse to the players. When the new temps is a slow ballad tempo of from MM + 60 to 100, it is possible to do what is called a ‘tempo from a downbeat’. This means that there is no more than one beat preparation, into this slower tempo. Because the tempo is relatively slow, it is possible to define the first two beats of the tempos, from which the new pulse is locked in and the tempo established.

There is also a situation where there is no set tempo or pulse. This is playing the music in a free, changing manner. Singers will often use a rubato tempo for the first portion of a song, and then start the tempo at some thematic point in the chorus. Solo pianists will also use rubato tempo for the first statement of a song, then lock into a tempo for the balance of the arrangement.

When orchestras play rubato, a conductor is necessary to enable the players to play together. In this situation, the conductor is preparing each beat of the pulse which tells the players when to execute the notes in relationship to their position in a bar of music. The conductor can slow the music down, speed it up, suspend a note for a short period of time, whatever supports the way a singer for example wishes to dramatize the delivery of the lyric. Instrumentally, the pacing of the melody is the deciding factor of speeding up or slowing down or suspending a tone.

In actuality, rubato tempo, when applied to a real song, is usually a situation where melody consecutively moving melody notes naturally move with a fairly steady slow pulse, and the space between the rhythm phrases of the melody are then possible to move rapidly through or slow down.

Wherever rubato tempo is found, you will find that the effect of ‘no tempo’ is to dramatize the presentation of the music.

At a point where a rubato section of an arrangement ends and the tempo is to start, it is handled as mentioned above under ‘New Tempos’, as a tempo is being established coming out of no strict pulse.

Most of our contemporary music is played in one tempo. Certainly if you are listening to contemporary dance music, it would be strictly in tempo for the sake of dancing. However, these points can be assimilated by listening to arrangements or treatments of songs wherein a more dramatic treatment is used and the variety of a change of tempo enhances the treatment of the music. You will hear these effects in Broadway overtures, Dramatic Ballads, Jazz treatments of standards, etc.

Dick Grove consecutively moving melody notes naturally move with a fairly steady slow pulse, and the space between the rhythm phrases of the melody are then possible to move rapidly through or slow down.

Wherever rubato tempo is found, you will find that the effect of ‘no tempo’ is to dramatize the presentation of the music.

At a point where a rubato section of an arrangement ends and the tempo is to start, it is handled as mentioned above under ‘New Tempos’, as a tempo is being established coming out of no strict pulse.

Dick Grove

DOMINANT PENTATONIC SERIES
PART 1

by Dana Rasch

Try memorizing each shape from it’s scale degree as shown on the previous page. Developing a comfort zone with all 5 shapes is extremely important ,as you will find when trying to apply this scale to different situations that will be suggested in future articles. Take care to use the correct fingering for each shape, taking special notice of the shape built from the 2nd. You will find what I believe to be the best fingering for 2nd shape below in Example 2

The fingering for this shape may seem awkward at first but as you can see in Example 3 this fingering sets you up to play the larger 7-note scale Lydian Dominant in a great way.

After becoming aquainted with the 5 shapes of Dominant Pentatonic try improvising using the scale over a simple minor 7th chord or a pedal bass in the following way Use any kind of rock , funk , or blues groove. Comp over the groove using Dmin7 or a D pedal bass.

Now improvise using Dom. Pent. a 4th higher , in other words G Dom Pent.

You should instantly recognize this sound as it is used by many famous Blues , Rock and Fusion players. Try moving between F/Dmin pent and G dom pent .After going back and forth between both scales you will soon see there is only one note difference between the two. Playing D min pent at the 10th fret (root shape in minor) and playing 5th shape of G Dom Pent starting on D should help more beginning players to see the difference. Also try D blues and G dom pent over the same idea.

The bottom line is that Dominant Pentatonic is a shape just like Major /Minor Pentatonic and that shape that creates a specific impression on the ear. This scale has become a primary focus of my practice sessions, it’s uses seem to be overwhelmingly positive in Technique development, Visualization of the neck and Improvisation.

When you see all of it’s possible applications I think you will become as excited about this shape as I am.

Have fun with it and I’ll see you next month.

Dana Rasch

HARMONIZING MELODIES

Part 2

by Dick Grove

Part 2 of this series of articles on the harmonization of melody will present a broad, comprehensive explanation of the precise method of determining the harmony of a melody. The ability to do so demands several attributes, including experience, a good ear, solid knowledge of chords / harmony and an understanding of contemporary musical styles.

In our contemporary music of today we have many unique and distinct styles of music. In pop or funk styles alone, there are many subdivisions of style. Many of the characteristics that label a style however, have to do with the rhythmic traits inherent in the style more than the harmonic. Although the rhythmic character of a melody is critical to the stylistic impression, the variations in rhythms do not impact on the choice of harmonization of the melody.

We can say, in a general, across-the-board look, that melodies have as their basic sources, (1) major scales and their displacements the Modes, and Pentatonic scales or (2) altered major scales like the Minor scales and 8-note symmetric scales. This basic restriction of the melodic choices of a tune have an important impact on the harmonization of that melody as the chords are vertical structures taken from the scale of the melodic source.

Harmonically, our contemporary music uses four basic harmonic styles (II - V - I divided into diatonic and chromatic). They are:

When all of the above are looked at from the standpoint of determining the harmony for a melody, we find that there is one common denominator to selecting every possible chord. The approach I talked about in Part 1 of Harmonizing Melodies (January 1998 Music Notes)can be extended from pop styles to all of the above areas of contemporary music.

To review the premise, we are saying that melody notes placed on points of chord change will function as the root, 3rd or 5th of a major on minor triad. We call these the Melodic Triad because the triad includes the melody note. Major and minor triads are suggested as opposed to diminished and augmented triads. Both of these altered major and minor triads do not have a perfect 5th in their construction, and therefore are weaker shapes that are not preferred.

There are important advantages to this approach, one of which is the fact that we all know our major and minor triads better than the more complicated chord forms. This makes our accessibility to the triads that harmonize melodies relatively fast and accurate. The second consideration is that when you realize that one premise does the job in any context, you have more directness to developing your technique and speed in the harmonization of a melody.

Diatonic harmonic styles are the contemporary sound of today, and the majority of songs are written in these styles. Any style using diatonic harmony makes this restriction of possibilities the easiest of solutions. That is not to say that there is one answer for each situation - there will be at  least six possible as there are three major triads and three minor triads. When we say ‘triads’ we mean that the basic harmonization will be a given triad. That does not mean however that only three tones will be played.

If the chosen triad is considered the Root, 3rd and 5th of a major or minor chord, there is also the option of enlarging the chord form from a triad to a 7th chord, 9th chord, 11th chord or 13th chord. In each instance, this  can be thought of as overlapping an additional triad to form the larger chord form. Here is an example of this:

Now each of these added possible triads can be the Root, 3rd or 5th of the Melodic Triad (the triad that the melody functions as the Root, 3rd or 5th). So the harmonization process works two ways - ascending (in which triads are overlapped from the original Melodic Triad) and descending, (in which the Melodic Triad can be considered the overlapped triad built from the 9th, 7th, 5th or 3rd of the real chord (i.e. we can work down to fine the basic triad of the chord that will harmonize the melody.

This entire theory and approach is covered in detail in our musicianship course, ‘See It - Hear It / Hear It - Play It’ Parts 1 and 2. In the courses, these are included in the study of Chord Families, Chord Families being all the possible chord forms combined into families of chords that all function the same way in a major or minor tonality. In the study of the nine Chord Families, you learn all of the chords of major or minor key centers, and the overlapping of triads that form the larger chords up to the 13th. It is a neat and concise way to get a real handle on chords, not just as a ‘list’ of chords to file away somewhere, but in real terms of applying them to your playing, songwriting, understanding of harmonic styles of contemporary music, etc.

This article is simply trying to describe the premise of the Melodic Triad that can harmonize a melody note or group of melody notes. The actual mastery of the harmonization process will depend on your familiarity with all chord forms, and that is one of the many by-products of our musicianship series.

Hope you like this explanation and have some success applying it to your own melodies -

Dick Grove               

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