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    Trane and Rosenwinkel Subs

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    john
    1) The document discusses an exercise for jazz improvisation that involves harmonizing the notes of augmented triads and diminished 7th chords. 2) Students are instructed to take a blues progression and place the notes of an F augmented triad or F diminished 7th chord over each half note to spread them out. 3) They are then to harmonize each note with major, minor, diminished, or augmented triads to improvise lines over the progression. Tonicizing each chord is presented as an advanced variation.

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    Trane and Rosenwinkel Subs

    Uploaded by

    john
    52 views2 pages
    1) The document discusses an exercise for jazz improvisation that involves harmonizing the notes of augmented triads and diminished 7th chords. 2) Students are instructed to take a blues progression and place the notes of an F augmented triad or F diminished 7th chord over each half note to spread them out. 3) They are then to harmonize each note with major, minor, diminished, or augmented triads to improvise lines over the progression. Tonicizing each chord is presented as an advanced variation.

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    1) The document discusses an exercise for jazz improvisation that involves harmonizing the notes of augmented triads and diminished 7th chords. 2) Students are instructed to take a blues progression and place the notes of an F augmented triad or F diminished 7th chord over each half note to spread them out. 3) They are then to harmonize each note with major, minor, diminished, or augmented triads to improvise lines over the progression. Tonicizing each chord is presented as an advanced variation.

    Copyright:

    © All Rights Reserved
    Download as DOC, PDF, TXT or read online from Scribd
    Download as doc, pdf, or txt
    52 views2 pages

    Trane and Rosenwinkel Subs

    Uploaded by

    john
    1) The document discusses an exercise for jazz improvisation that involves harmonizing the notes of augmented triads and diminished 7th chords. 2) Students are instructed to take a blues progression and place the notes of an F augmented triad or F diminished 7th chord over each half note to spread them out. 3) They are then to harmonize each note with major, minor, diminished, or augmented triads to improvise lines over the progression. Tonicizing each chord is presented as an advanced variation.

    Copyright:

    © All Rights Reserved
    Download as DOC, PDF, TXT or read online from Scribd
    Download as doc, pdf, or txt
    of 2

    Trane and Rosenwinkel Subs

    August 23, 2008

    Filed under: Subs — M.Warnock @ 10:48 am

    Hi Everyone,
     I gave a lesson yesterday and we were dealing with playing our “own” changes not necessarily
    the changes on the page.  We went over the basic bII7 and “Lady Bird” subs and then got into
    harmonizing tonic augmented triads and diminished 7th chords.  Alot of my students haven’t
    heard about this so I thought I’d post some exercises on it here.  Try starting with this one.

     
    1) Start by taking a an F Blues and thinking about the first four bars as F7.

     
    2) Then we’re going to take an F Augmented triad and place the chord tones on every half note
    until we return to the root.  Ex

    F  A/ C# F/ for the first two bars..

     
    3) We can now start by harmonizing each note of the F Aug triad with either Major, Minor,
    Diminished or Augmented triads.  So you could improvise a line using these notes over the first
    two bars with Major triads;

     
    Fac Ac#e/ C#fg# Fac/ 

     
    It gives a really neat in and out feel and because the sound of a triad is so strong it helps the line
    be coherent and sound great over any change.

     
    Now try this the same exercise but use an Fdim7 as your chord to harmonize:

     
    1) Over the first four bars of the blues spread out the Fdim7 chord with each note getting half a
    bar:

     
    F Ab/ B D/ F/F
     
    Then like we did earlier harmonize each note with any kind of triad, M, m Dim or Aug.  For now
    we’ll stick with major triads so you can improvise a line with these notes:

     
    Fac Abceb/ Bdf# Df#a/ Fac etc

     
    These two exercises work very well when you take opposite sounding triads through the
    symmetrical intervals, for example minor triads through the Aug triad or Major triads through
    the dim7 chord.

     
    If this exercise becomes easy or you are looking to go one step further you can tonicize each
    chord that you are harmonizing, so with the Aug triad you could do this:

    F A/ C# F/ = /CF EA/ G#C# CF/ 

     
    So the notes you could use to improvise if you used major triads would be:

    CegFac Eg#bAc#e/ G#cd#C#fg# CegFac/

     
    You can also apply this idea to the dim7 chord subs and again can use any triad in any
    combination to harmonize each note.  Since there are so many chords going by it works well
    over slower tunes, though I’ve heard sax players play this at faster tempos so if you feel like a
    challenge turn up your metronome!

     
    Enjoy this exercise, it will automatically take your playing to new levels and you can use
    material you already know, i.e. triads, to do it.

    Matt

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