Bergonzi Exersizes

8/9/2019 Bergonzi Exersizes

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APPTYINGTHE

I.5

GROUPINGTO

SOTOS

These

four note melodies

and their

permutations can be used on chord

changes

or improvising.

By

applying

them to a song, that is,

plugging in a four note

grouping per chord change, t becomes

clear how theywork.

The

following

example illustrates what

the

first

twelve bars of a

corrrrnon pattern of chord changes

would

sound

like

using

the numbers

l-2-3-5, remembering :Jrratl-2-3-5 s

replacedby l-3-4-5

on

minor

chords.

Example #1

(C

Tieble

Clef Instruments)

FA

F7

a

34

D-7

A-7

A7b9

G7

c-7

5tb235

Eb7

D7

Db7

c7



Dont

be overwhelmed

y

the

number

of possible

ermutations.

nceyou

feel

comfortable

ith the

basic

grouping

of l-2-3-5,

practicing

ne or

two permutations

rom

each olumn s

sufficienl It

isnt necessary

to

practiceall, 4

permutations

smastery

of a few

will enable

ou ro incorporate

others

nto

your playing.

The

following

melody

uses he permutation

3-5-2-l

on that

sarne erof

chord changes.

Lxample#2

(CTreble

Clef Instruments)

Ea

A7b9

I

D-7 G7 C-7 F7

A

Bb-7

3521

Db7

3135

Eb7

14 5

A-7

531

Ab-7

t35

C7



I FOUR NOII

GROUPIl ' IG5 I-5

Example 3 illdsuates

he permutation2-1-5-3.

Brample #3

(CTieble

Clef Instruments)

A7b9

D-7

A

t t )J

Ea

3154b2 153

Bb-7

Eb7

315421

C7

31542153

A-7

D7

5331542t53

FA D.7

3r542t53

Ab-7

Db7

31542153

153

G-7

G-7

C7

533t54



I I

MIXING

UP

PERMUTATIONS

O tt

you

have

become

amiliar

with

four

permutations

rom

the

1-5

grouping,

he next

step

s

to

play

througha songandmix up these ifferentpermutations. he goalheres o srive for varietyn yourmelodic

lines.

Having

memorized

our

permutations,

you

can

then

randomly

arrange

he notes

n

d.ifferent

hapes.

t

is

very

ikely

that you

will

begin

to play

permutations

which

you

havent

even

practiced

simply

by

thinking

about

the

different

possible

hapes

f these

our

note

melodies.

The

key

word

here

s

'thapd,.

The

following

example

llustrates

mixing

up

whatwer

permutations

come

o

mind

on

the first

eight

bars

of Tune

#2.

trnpl€

#4

(C

Tleble

Clef

Instruments)

-J

Ea

5l

Ao

A7b9

D-7

G7

43153521

c-7

F7

34b25

D7b9

35

453



Yr5UAi l lA l l0 l

TUlt t

#2'0] l

THE

BRI] l l ( '

A7b9

D-7

G-7

G-7

c-7

c-7



Thus,

the result

of

editing

is

to

change the somewhat

mechanical

sounding

eighth note

rhythms inro

more

musical melodies

and motifs.

Rhithmic

variation is

a

much

more

expansive mprovisational

tool

as the

possibilities are infinite

when

compared

with the choice

of notes

which we

are keeping

very finite

by the

numbering

system. t is

extremely h.lpfltl

to listen

to your favorite

players

and

try to determine

what kinds

of

rhythms

they are employng.

Listen for

the spaces

hey leavel The

silence n

spaces s

a solo

unto itself

Thke notice

of how

they are editing

their solos.

For example,

where

do their

phrases begin

and end,

on or

offthe

beat and

on or offwhat

beat?

The following

is

an example

of an edited

solo on a bebop

blues.

F.xample #5

(C

Tieble

Clef Instruments)

A7b9

D-7

c-7

Ab-7

-7

D-7

G-7

-7

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Bergonzi Exersizes