Bergonzi Exersizes

AP P T Y I N GT H E I . 5 GROUPINGT O SOT OS These four note melodies and their permutations can be used on chord changesfor improvising. By applying them to a song, that is, plugging in a four note grouping per chord change, it becomesclear how theywork. The following example illustrates what the first twelve bars of a corrrrnon pattern of chord changeswould sound like using the numbers l-2-3-5, remembering :Jrratl-2-3-5 is replacedby l-3-4-5 on minor chords. Example #1 (C Tieble Clef Instruments)

FA

A7b9

Ea

34

D-7

G7

c-7

F7

5t b235

Eb7

A -7

D7

Db7

c7

l3

Dont be overwhelmed by the numberof possiblepermutations.Onceyou feelcomfortablewith the basic groupingof l-2-3-5, practicingone or two permutationsfrom eachcolumn is sufficienl It isnt necessary to practiceall,24 permutationsasmasteryof a few will enableyou ro incorporateothersinto your playing. The followingmelodyusesthe permutation3-5-2-l on that sarneserof chord changes. Lxample#2 (CTreble Clef Instruments) I

FA

Ea

3135

Bb-7

D-7

A7 b 9

Eb7

145

A -7

G7

C-7

4

Ab-7

F7

531

3521

Db7

t35

C7

t5

I

F O UR N O II

GR O U PIl ' IG5 I-5

Example#3 illdsuatesthe permutation2-1-5-3. Brample #3 (CTieble Clef Instruments) FA

tt)J

Ea

3154b2

Bb-7

21 53

G- 7

A7b9

315421

C7

D-7

153

3r542 t 53

31542153

A -7

Eb7

D7

5331542t53

FA

Ab-7

Db7

31542153

D. 7

533t54

G -7

C7

II

MIXING

UP PERMUTATIONS

O"tt you havebecomefamiliar with four permutationsfrom the 1-5 grouping, the next stepis to play through a songand mix up thesedifferentpermutations.The goalhereis to srive for varietyin your melodic lines. Having memorizedfour permutations,you can then randomly arrangethe notes in d.ifferentshapes.It is very likely that you will begin to play permutationswhich you havent even practicedsimply by thinking about the different possibleshapesof thesefour note melodies.The key word here 'thapd,. is The following exampleillustratesmixing up whatwer permutationscometo mind on the first eight bars of Tune #2. trnpl€ -J

#4 (C Tleble Clef Instruments) Ea

5l

Ao

A7b9

34b25

D-7

G7

c-7

43153521

D7b9

G7

35

G -7

F7

453

C7

Yr5UAillAll0l

TUltt #2'0]l

THE BRI]ll(' A7b9

D-7

c- 7

G -7

c-7

G -7

':*7

G -7

A7b9

D-7

G -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 improvisational tool as the possibilities are infinite when compared with the choice of notes which we are keeping very finite by the numbering system. It is extremely h.lpfltl to listen to your favorite players and try to determine what kinds of rhythms they are employng. Listen for the spacesthey leavel The silence in spacesis a solo unto itself Thke notice of how they are editing their solos. For example, where do their phrasesbegin 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

A -7

G- 7

A b -7

D-7

G -7