piano guitar - adam kadmon - the keyboard grimoire - 1996

Download Piano Guitar - Adam Kadmon - The Keyboard Grimoire - 1996

Post on 23-Nov-2014

170 views

Category:

Documents

20 download

Embed Size (px)

TRANSCRIPT

A Complete Guide for the Guitarist and Keyboardist

i

Produced byfor

L w.

~

~

65 Bleecker Street. New York, NY 10012

Copyright @ 1996 by Carl Fischer, Inc. All Rights Assigned to Carl Fischer, LLC. International Copyright Secured. All rights reserved including performing rights.WARNING! This publication is protected by Copyright law To photocopy or reproduce by any method 1 an infringement of the Copyright law Anyone who reproduces copyrighted s matter is subject to substantial penalties and assessments lor each infringement. Printed in the U S A

ISBN 0-8258-2679-9

CONTENTSHOW TO USE THE SCALE SECTION .................................................................. 1 THE BUILDING BLOCKS OF MUSIC ..................................................................... 2 SCALES AND MODES ........................................................................................... 5 MODES AND RELATIVE SCALES ...................................... :.............................. 8 ..... PATTERNS AND FINGERINGS .............................................................................. 9 INTERVALSAND INSTRUMENT ............................................................................ 12 7. 5. 6. & 8 T O N E SCALES ..................................................................................... 137 TONE SCALES MAJOR ..................................................................................................................... 24 MELODIC MINOR .................................................................................................... 32 HARMONIC MINOR ................................................................................................34 HARMONIC MAJOR ................................................................................................36 HUNGARIAN MINOR .............................................................................................. 38 HUNGARIAN MAJOR ...... .......................................................... 40 NEAPOLITAN MINOR ............................................................................................42 NEAPOLITAN MAJOR ............................................................. ............................. 44 ENIGMATIC MINOR ................................................................................................ 46 ............................................................................. 48 ENIGMATIC ........................ ....................................................................... 50 COMPOSITE 11 ................... IONIAN b5 ................................................................................................................ 52 LOCRIANb7 ............................................................................................................. 54 PERSIAN ................................................................................................................ 56

5 TONE SCALES MINOR PENTATONIC (BLUES SCALE) .............................................................. 58 KUMOI .................................................................................................................... 60 HIROJOSHI ............................................................................................................. 62 6 TONE SCALES WHOLE TONE .........................................................................................................64 AUGMENTED .......................................................................................................... 66 68 PELOG ..................................................................................................................... DOMINANT SUS .....................................................................................................708 TONE SCALES DIMINISHED ........................................................................................................... 72 8TONE SPANISH ................................................................................................... 74 BEBOP LOCRIAN b2 .............................................................................................. 76 BEBOP DOMINANT ................................................................................................ 78 BEBOP DORIAN ..................................................................................................... 80 BEBOP MAJOR ...................................................................................................... 82

CONTENTS continuedHOW TO USE THE CHORD SECTION ................... CHORDS & NAMING ................ POLYCHORDS .......................... SLASHCHORDS ......................... SUBSTITUTIONS........................ COMPATIBILITY ........................ INVERSIONS ............................. ARPEGGIOS ..............................3 & 4 NOTE CHORDS:5 NOTE CHORDS: 9 .................................................... 140 -9 .................................................... 142 b ....................................................144 9 .................................................... 146 A .................................................. 148 9 -A9 ................................................. 150 A b 9 ................................................ 152 -Ab9 ................................................ 154 A ................................................. 156 ALT (b5 $9) .................................... 158 ALT (b5 b9) .................................... 160 ALT ($5 b9) .................................... 162 ALT ($5 9 .................................... 164 6 NOTE CHORDS: 11 .................................................... -1 1 .................................................. $11 ..................................................

sus

..............................................

7 NOTE CHORDS: 13 .................................................... 182 -13 .................................................. 184 13#11 .............................................. 186 -13#11 ............................................. 188 A13 ................................................. 190 -A1 ................................................ 192 3 ~ 1 3 ~ 1 1 ............................................ 194 -A13^11 ........................................... 196

NUMERIC ANALYSIS SCALES .......... 198 NUMERIC ANALYSIS CHORDS ........ 200 POLYCHORD FORMULAS ................ 202

HOW TO USE THE SCALE SECTIONThe first section of this book deals with scales. The scales are divided into 7 tone, 5 tone, 6 tone, and 8 tone groups. Each scale consists of a title page and an interval map page depicting that particular scale's usage in all 12 keys. Diagrams are used for visualization instead of notation. Each title page contains various charts. The charts are your tools in analyzing modes, compatible chords, keyboard fingerings, and modal generation charts. Guitar and bass fingering patterns are also included.

TITLE PAGE-"c.."-..,-*m.

-..-..-"".

I

11 El I V

v

VI VII

SCALEIMODE- CHORDCHART

V VI VII

MIXOLYDIANAEOUAN

7 9 11 13 7 -0 119

VII

LOCRUN

NUMERIC SCALEIMODE CHART

NUMERIC SCALE / MODE CHART Before we start with the scales, we will show you how each section of the title page works. The first section we will explain is the Numeric Scale /Mode chart at the bottom of the page (fig. 1). The Scalernode - Chord Chart will be discussed in the Chord Section.

THE BUILDING BLOCKS OF MUSICMusic is sound. But for now imagine that it is a set of 12 equal blocks (fig. 2). The distance from one block to the next block is a half-step. From block 1 to block 2 is a half-step, from 8 to block 9 is a half-step, etc..

fg 2 i.

fg 3 i.

7 of these 12 tones or blocks have been given positions of "major" importance (fig. 3). Looking at the diagram we only see 7 numbers, but there are still 12 tones or blocks. The empty blocks are reserved for flats b and sharps # . The distance from block 1 to the lstempty block is still a half-step. The blocks that are numbered are the tones that make up the Major scale.The various combinations of half-steps are called intervals. Basically, an interval is the distance between 2 tones. The names of the intervals are then divided into 2 sets: the majors and the perfects. The majors are 2,3,6, and 7 ;the perfects are 1,4,5, and 8. 1 would be a unison, such as 2 instruments playing the same note. An 8 would be the octave. Altering the intervals with flats or sharps changes them from major and perfect into minor, diminished, and augmented (fig. 4).

fg 4 i.

In essence:

Flat a major - get a minor Flat a minor - get a diminished * Flat a perfect - get a diminished

Sharp a major - get an augmented Sharp a perfect - get an augmented

The entire set of major and perfect intervals are called diatonic intervals. Let's look at an easy way for memorizing interval distances by counting the amount of blocks. There are 12 building blocks within the major scale. Therefore, an interval has to consist of so many building blocks. We'll demonstrate first with a major 2nd. There are 3 blocks in a major 2nd (fig. 5, but the distance from the 2 to the 3 is also a major Pd ) (fig. 6).

6g.5

fg 6 i.

Fig. 7 is a complete chart of intervals showing you a breakdown in building block format. Also observe, the chart tells you how many half- and whole steps make up each interval.

[TI

1 BLOCK = UNISON .............................................................................. (0 STEPS)

I 1 11

1

2 BLOCKS3

11

...................................................................( +STEP) BLOCKS