The search for full dominion – third part

Arpeggio substitution (part one)

First of all, click here to download all the examples

            Hello, people, how are you doing? Continuing our trip, this month we will talk about arpeggio substitution. This is a very extensive part, so I will try to resume.

            The arpeggio substitution exist in order to use upon a “X” chord some dissonances that are “out” of this same chord arpeggio. In the case of C7+, for instance, we have notes C, E, G. and B that make the tetrads and if we “disjoint” the piling up and treat it in a melodic way, we have the arpeggio of this chord. In the first substitution we will see, playing the Em7 arpeggio upon C7+ we have, concerning to C7+, the tonic substitution by de 9th oh the chord, as you can see below:

 

                        << example 1 >>

 

            So, we will see some ways to arpeggio substitution:

Substitution starting from the 3rd of the chord – In this way, we will replace a literal chord arpeggio by another arpeggio starting from its 3rd note. For example:

            C7+ is made of C, E, G, and B. The substitution will start from de 3rd note of this arpeggio, that is, it will start from E. Pay attention: it is not an inversion, but a superposition. This way, we will play the arpeggio that is a 3rd above this chord, inside the tune to which it belongs. For an instance, in C major we will have:

 

                        << example 2 >>

            So, upon the first grade of the scale (C7+), we will play the scale third grade arpeggio (Em7), that is made by E, G, B and D. Concerning to C7+, the note B is the 9th one.

            Below there is a II – V – I – VI cadenza, in C major. Play the arpeggios in the way that is indicated in the example:

     << example 3 >> (2 – 5 – 1 – 6 indicating the arpeggio substitution)

 

            Observe that upon Dm7 chord it is indicated to play the F7+ arpeggio. So, we will have:

 

            Dm7 – D(T) – F(3rd) – A(5th) – C(7th) I << example 4 >>

            F7+ - F(T) – A(3rd) – C(5th) – E(7th)

 

            The only different notes between the two arpeggios are D (Dm7 Tonic) and E (F7+ 7th). So, we have:

 

            Upon a Dm7: F(3rd) – A(5th) – C(7th) – E(9th). Notes F, A, C, and E make F7+. It is the F7+ arpeggio, IV grade in C major, that is a 3rd above Dm7, played upon Dm7.   << example 5 >>

            In the major mode there are the following possibilities:

 

            << example 7 >> (substitutions)

           Now, improvise in the sequence below using only substitutions by the 3rd. It is good to observe that in the same way we can use the literal chord arpeggio, starting from T, 3rd, 5th, or 7th, it is also possible to invert the substitute arpeggios. In the ten “c’, below, you can see the arpeggios to be used in the first region.

 

            << example 8 >>

Tips to organize this studies

 

a)      When you study the examples, use any software you can write and reproduce chords, or you can record the basis many times (loops). Think about a number of improvise chorus (an improvise chorus means a whole harmonic sequence) and as this number is done, change something in the study (the note you start to play the arpeggio, for an example).

 

b)      Practice always for each chorus: a note for a time (in 4/4, quarters), two notes for a time (eighths), three notes for a time (triplets eighths) and four notes for a time (semi quavers) consecutively, without worrying about breathing or phrase size. The objective in this kind of study is to force you to make changes in arpeggios at any moment, independently of the region where you are doing the arpeggio. At the beginning it is difficult, but be persistent and soon you will see that certain changes are easier because you will found “ways” you can use in changing an arpeggio by other, or in the future, in which you need better seeing the instrument.

Remember: “the search for full dominion”.

 

c)      Improvise freely using arpeggios. When you improvise, remember to think about whole phrases (with beginning, middle and end).

 

d)      Sing EVERYTHING! Try to synchronize more and more the thinking with every material you are studying.

 

e)      Practice always using metronome, using different speeds. Try to diversify a lot.

 

f)        Just change the region when you feel comfortable. If you have troubles in fingering some arpeggio in the first region, or you are not able to synchronize some idea, persist in the same region until you feel good about the major (or all) mechanic information. So change the region.

            In the next month we will continue to talk about arpeggio substitutions, but we will see another substitution possibilities.

            I have the concerning to indicate the name of good improvisers (or good improvises) in the CDs I have indicated in this column. Today I would indicate the Renato Anesi’s CD, from a musician I have meet few time ago through Zeli, a bass player. The CD’s name is Dez anos depois, and it has the participation of Zeli (bass), Adriano Busko (a kind of “percu-bass”), Eduardo Contrera (percussion), Thomas Howard (guitars), Marquinho Mendonça (“every string that appears”, as is written in the CD) and Renato (mandolin, “cavaquinho” [a kind of small guitar], 12 and 16 strings guitars... “every string that appears”!). This is a recording that explores a very Brazilian sonority, as choro, baião and others rhythms. It is worthy to listen to it! It is a fresh CD, if I’m not wrong, dated from 2005.

 

            See you in the next month, at the improvise planet! Health and a lot of sound!