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The search for the full dominion – Part III
Arpeggio substitutions (part 2)
Hey guys, what’s up? In the last column we have studied arpeggio substitutions by the third of the Harmonic Fields that create the chords. In this column, we’ll see possibilities of substitution, not only by the third, but also by the other intervals from the chords piles (5th, 7th, 9th, 11th and 13th). These possibilities here shown won't be related to a specific Harmonic Field, but it is important to remember that, if the intention is to play in-side, you just have to put the arpeggio in a chord of a determined Harmonic Field.
Below, a box with the possible substitutions and their results:
Now study the substitutions in the following harmonic sequence:
Examples of substitutions by chord (in-side/out-side):
Tips to organize these studies
a) Don’t worry about studying all the substitutions. Remember that they are only ways, a substitution can be a study object during long time.
b) Remember: studying and improvising are different stuff! If your mechanic part isn’t really upgraded, you will be probably incapable to play what you think! Take care of the studying (which is the mechanic part)! The more you study, the more you feel free to improvise.
c) When studying the examples, use any software where you can write and reproduce the chords or record the bases many times (loops). Think of a quantity of improvise chorus (1 improvise chorus means an entire harmonic sequence), and by the time this quantity has been done, change something at the study, for example, the note where you start playing the arpeggios.
d) Always train to each chorus: a note in a time (in 4/4, quarter notes), two in a time (eighth notes), three in a time (tercined eighth notes) and four in a time (sixteenth note), one after the other, without worrying about the breathing or the size of the phrase. The intention of this kind of study is making that you obligate yourself to do the arpeggios changes any time, no matter the region where it is being executed.
In the beginning it is difficult, but keep doing it and soon you will see that some changes will be much more easier, because you’ll find "paths" you can use in the change of an arpeggio to some other, or in another future situation in which you need to see the instrument better. Remember: "the seek for the full domain”.
e) Improvise freely with the arpeggios. Remenber to think on phrases with beginning, middle and endong when improvising.
f) Sing absolutely EVERYTHING! Try to let your reasoning each time more “synchronized” with the material you are studying.
g) Train always with a metronome in different tempos.
h) Change the region only when you feel comfortable. If you have difficulties doing the arpeggio in the first region or if you can’t “synchronize” something you are thinking, keep persisting at the same region until you feel comfortable with most part (or the entire) mechanic information and so just then change the region.
Vinicius Dorin is, for sure, one of the biggest Brazilian musicians nowadays. Look for the album “Revoada” from the saxophonist. Amazing improvisations, astonishing trips, wonderful themes! The year from the album is 2004.
Any doubts? Send an e-mail!
Huge hug and see you around Improvising Planet’s streets!
Guto Andrade.