intervalic improvisation – walt – Download as PDF File .pdf) or read online. Walt Weiskopf · HOME · TOUR DATES · SHOP · ARRANGEMENTS · BOOKS BOOKS. BUY WALT WEISKOPF BOOKS Intervalic Improvisation. $ Recording artist and master improviser Walt Weiskopf presents the simple technique of “triad pairs” (using only two triads) to create long, exciting phrases for all.

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Apparently the slow straight rhythmic groove of this tune allowed me the opportunity to combine both ideas. Are you a beginner who started playing last month?

Feel free to recommend similar pieces if you liked this piece, or alternatives if you didn’t. Many of the diatonic applications of these sets depend on the ear of the performer.

His analysis of this developmental process, his chromatic concepts of tonal and non-tonal superimpositions and his sketch of the parallels with the development of classical music through the ages served as an illustrative theoretical background. Tip Moving the mouse cursor over the top of the page will display the menu bar.

The sizes of the intervals in the trichords range between a minor second and a perfect fourth.

Intervallic Improvisation: Book

The same with second rotation trichords [rotation, transposition]. Working with his exercises would enable a musician to recognize the distinct sound of each improvixation and its corresponding row in the same way he recognizes harmonies from major and minor scales. The ones marked with an asterisk are the most important in defining the sound of the chord.


In the improvisatino bar these triads are put in succession, and in the second bar they are intertwined to form a hexatonic scale.

Both in his examples and in his improvieation instructions, he thoroughly addresses the twelve-tone operations of transposition, rotation and extension. Simple techniques of using impeovisation 2 triads to create long, exciting phrases for improvisers.

The interval of an augmented fourth between the initial notes of the trichords cause these combinations to sound more outside. The next example shows this in a succession of C major chords arranged in increasing complexity. I experience this both in my own practice as with the students in my classes of saxophone improvisation at Codarts University improfisation the Arts. You consent to our cookies and privacy policy if you continue to use this site.

By signing up you consent with the terms in our Privacy Policy. Despite its obvious connections to the functional harmonic fabric it can serve as an effective tool to start making “educated steps” outside the stated chords. An item in used but good condition. Intervalic Improvisation by Walt Weiskopf Has anyone studied out of this book?

The triad pairs in bars 1, 3, and 5 sound really different but, as the chords written above bars 2,4, and 6 indicate, they all refer to the C octatonic scale. The effect is the same as with the triad pairs in the previous example: In the improvisatiom that follows Garzone loosely alternates between echoes of this composed triadic countermelody and lines that are firmly rooted in traditional linear improvisation.

The following table summarizes the trichords, their number of possible constructions, the number of unique transpositions, their steering trichords and their tonal colors. If you have any suggestions or comments on the guidelines, please email us.


The research results provide comprehensive insights into compositional and improvisational processes in jazz, and offer materials that can be useful for the personal artistic development of jazz practitioners, including musicians, composers, and educators. The same goes for the directions of the lines. Interestingly, the author himself presents his application of the model in a composed solo instead of, for instance, in a number of examples transcribed from solos.

We’ll instantly send an email containing product info and a link to it. These rows are constructed with the so-called steering trichords that are found by grouping the first notes of the trichords in the basic row.

Intervallic Improvisation: The Modern Sound

Please see our Privacy Policy for details. However, particularly in the initial stage of mastering these techniques of intervallic improvisation, performers should be able to hear and play the distinct trichords clearly before they start blending them with members of the other trichord families.

Because they can easily be identified as fragments of existing diatonic, octatonic and whole-tone scales they contain the danger of emphasizing obvious tonal elements instead of moving beyond improvusation.

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Liebman expresses that an exploratory attitude in his students is crucial.