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.
|Language:||English, Spanish, Hindi|
|Distribution:||Free* [*Sign up for free]|
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.
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.
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.
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.
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.
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.
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.