This dominant 7 pentatonic pattern is similar to the previous pattern. It still moves up a half step for a total of 2 notes in an eight note pattern. But this time, the transposed notes are the fifth and eighth notes in the sequence. This means that you have to transpose up a half-step twice during the pattern, rather than just once.
If you’re paying attention, you’ll notice that this pattern creates shapes that invoke other keys than just C and D flat. For instance in bar 2, the transposed pattern invokes an E minor arpeggio with a Major 7th leading tone. There are other nice little sonic easter eggs in there if you go searching.
Download the full pattern:
Playing Outside: The Dominant 7 Pentatonic Scale Pattern 3
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(1 votes, average: 4 out of 5)
Loading ...Solo Transcriptions: Remember Synth Solo
May 24, 2007
1 CommentI’ve got dozens and dozens of transcriptions that I’ve done over the years. Some of them have been formatted nicely using either Sibelius or Finale. The other day, as I was listening to the Bryan Adams Anthology, a synth solo caught my ear and I quickly transcribed it. That got me thinking that I would like to share some of them with you. Well, here’s solo transcription number one.
Off Bryan Adams’ 1980 self-titled debut album, Remember is probably the best known song. I’m not sure who played the solo, it could be Gary Breit, Tommy Mandel, or Bill Payne.
Take a listen:
The solo builds in these ways:
- By increasing the octave each pass of the motif.
- By gradually bringing in 16th notes.
- It peaks melodically at the end of bar 12 with the highest note of the solo, B.
- It peaks rhythmically in bars 15 and 16 by a repeating 16th note pattern lasting a full two bars.
What caught my ear when I first heard the solo, besides the sound of the synth, was the 16th note pattern in bar 10. It’s very guitar like and a slick departure from the original motif. It’s also perfectly placed to lead into the beautiful and simple melody in bars 11 and 12.
Download the transcription:
(1 votes, average: 4 out of 5) Loading ...If Pattern 1 seemed easy to you, I guarantee you’ll find this next one more challenging.
Last time, we simply took a four-note pattern and transposed it up a half step for the second half of the bar. This time, we’re using a full eight-note pattern and transposing only the fifth and sixth notes up a half-step.
The purpose of this pattern is to make you comfortable switching between modes for just one beat. Some of the sequences will be easier for you than others. Just practice slowly until you can play it in all keys at a fast speed and wrap your head around what you’re playing in real time.
Download the full pattern:
Playing Outside: The Dominant 7 Pentatonic Scale Pattern 2
(1 votes, average: 4 out of 5) Loading ...A favorite scale of jazz saxophonist, John Coltrane, is the Dominant 7 Pentatonic Scale.
During the 60’s, Trane, and other avant-garde musicians like Ornette Coleman, created a unique style of “playing outside” the chord changes. Often, this sound was created by playing a half-step above the tonic mode.
While it’s easy to play in D flat over the key of C, these masters of tension and release would weave in and out of the tonic as if they were tearing harmony apart and rebuilding it.
This series of patterns is designed to make you comfortable switching between two modes a half-step apart. We’ll start simple and get more complex as we go.
This particular four-note pattern changes modes every two beats. Obviously, you would want to practice this in all keys.
Download the full pattern:
Playing Outside: The Dominant 7 Pentatonic Scale Pattern 1
(1 votes, average: 5 out of 5) Loading ...Samurai Songwriting Issue 2 Is Now Available
May 17, 2007
0 CommentsIt’s time to dig into the second issue of Samurai Songwriting. If you’re not a subscriber, join now. If you want to purchase just this issue, you can do that here:
Here’s what we cover in this issue:
- The Samurai Songwriter Code. How to develop relentless and unwavering self-discipline.
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