Repository of scales and melodic patterns pdf

 
    Contents
  1. Way of Seeing Coltrane
  2. The Global Source for Jazz
  3. Yusef Lateef - Repository of Scales and Melodic Patterns
  4. Repository of Scales and Melodic Patterns

Yusef Lateef - Repository of Scales and Melodic Patterns - Ebook download as PDF File .pdf) or read book online. Yusef Lateef - Repository of Scales and Melodic Patterns Slonimsky thesaurus of scales and melodic patterns pdf nbsp; Slonimsky thesaurus. A Study Catalog for Yusef Lateef's "Repository of Scales and Melodic Patterns" 15 C C# D# F# G# A# B D F G A C Chinese Reform Scale of the Chow Dynasty.

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Repository Of Scales And Melodic Patterns Pdf

Page 1. Page 2. Page 3. Page 4. Page 5. Page 6. Page 7. Page 8. Page 9. Page Page Page Page Page Page Page Page Page Yusef Lateef - Repository of Scales and Melodic Patterns. August 13, | Author: Taras Kushniruk | Category: N/A. Sionimsky, Nicolas, Thesaurus of scales and melodic patterns. Previously published: New York: pathelpdisclida.cfer, 1. Musical intervals and scales. I. Title.

The realities of what we see and what we know are never settled. John Berger, Ways of Seeing It was a short time of coincidences. The guitarist Miles Okazaki shared the following picture on Twitter. It's just before the contents page of the late Yusef Lateef's Repository of Scales and Melodic Patterns , which I admit to never having owned or read [yet]. The week before though, I read a fascinating transcription of a talk that Evan Parker gave on John Coltrane in which he talks about Coltrane's attempts to relate musical and spiritual concepts. Since I actually have to look at Coltrane's thinking for my work on contrafacts, it's all quite timely.

Yusef Lateef has made a great collection of chords and scales and presented them in a very musical way. Not standard bass lines by any means, but interesting and musical. For instance the first grouping is all major chords presented in a sequence of down a major 3rd and then up a perfect 4th.

Chord are in root position then in inversions and finally in alternating inversions following pretty standard voice leading practices.

There are many different kinds of scales and modes from around the world.

Way of Seeing Coltrane

Some you'll have seen before, some are made up and some are from 'world music'. The Japanese scales are particularly interesting.

I think Lateef intended this book to be used as a performance practice and also a theory text of sorts. On the other hand, one can search through it and find raw material to base a composition or improvisation upon. One may refer to the book again and again and find new ideas and new sources of inspiration.

The Global Source for Jazz

One advantage this book has over similar works by other authors is that Dr. Lateef was, and remains, a master musician and composer, and a true musical artist with an innate sense of beauty.

Other books: BMFA HANDBOOK PDF

While this book is clearly not intended to be "musical" in the sense of offering beautiful pieces, Dr. Lateef understands the idea of musical beauty quite well, and knows how to present music theory in a way that it may serve these ideals. And this is the mark of a great teacher.

It is where John Coltrane's last public performance was recorded.

Yusef Lateef - Repository of Scales and Melodic Patterns

I like Eastern music; Yusef Lateef has been using this in his playing for some time. You can learn about scales from various parts of the world and that's part of the uniqueness about this book.

Since I actually have to look at Coltrane's thinking for my work on contrafacts, it's all quite timely. This might get technical, but I'll do my best to keep it at a generally readable level. I'm looking at the diagram and asking two questions: how did Coltrane construct the diagram; and why did he construct it?

I have no answers as yet, but I'm writing it here so I [and if you're interested you] can refer to it later. The first question is actually harder than it looks.

Repository of Scales and Melodic Patterns

I'm wondering what Coltrane drew or wrote first—the literal order in which he laid out the diagram. My reasoning is that how he drew it will reveal more about why he drew it.

Just looking at the way he's grouped certain pitches on the diagram it's easy to infer that Coltrane is displaying a form of chromatic modulation: indeed, this was pointed out to me. But the diagram isn't really needed to work out chromatic modulations—it doesn't explain why Coltrane didn't simply say to himself "when I see an F, I'll move to an E". So the diagram may have a theoretical basis beyond that. If you look carefully at the drawing, you'll notice that there are two concentric rings.

The outer ring has a whole tone scale starting from C; the inner one starting on B.

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