Patterns for Creative Improvisation, Volume 2 (Spiral Bound)
This second volume emerged from the generous reception of the first, and I offer it in the same spirit of creativity. The following pages contain sixty-seven new ideas, organized into five chapters based on scales: 1) “diatonic,” including major and melodic minor scales, 2) “pentatonic,” including ideas from the major pentatonic other five-note scales, 3) “blues,” a scale that is rarely explored as a source for patterns, 4) “bebop-blues,” which adds a seventh note to the blues scale, and 5) “chromatic,” which is not necessarily “twelve tone” or even “atonal,” but features note groupings and transpositions using all twelve chromatic pitches. Unlike the last volume, I include theoretical explanations at the back of each chapter for those who are interested in how I think about developing my ideas into new patterns. This book is not meant to be a comprehensive source for any of these scales but is instead filtered by my own sense of taste and interest.
This second volume emerged from the generous reception of the first, and I offer it in the same spirit of creativity. The following pages contain sixty-seven new ideas, organized into five chapters based on scales: 1) “diatonic,” including major and melodic minor scales, 2) “pentatonic,” including ideas from the major pentatonic other five-note scales, 3) “blues,” a scale that is rarely explored as a source for patterns, 4) “bebop-blues,” which adds a seventh note to the blues scale, and 5) “chromatic,” which is not necessarily “twelve tone” or even “atonal,” but features note groupings and transpositions using all twelve chromatic pitches. Unlike the last volume, I include theoretical explanations at the back of each chapter for those who are interested in how I think about developing my ideas into new patterns. This book is not meant to be a comprehensive source for any of these scales but is instead filtered by my own sense of taste and interest.
This second volume emerged from the generous reception of the first, and I offer it in the same spirit of creativity. The following pages contain sixty-seven new ideas, organized into five chapters based on scales: 1) “diatonic,” including major and melodic minor scales, 2) “pentatonic,” including ideas from the major pentatonic other five-note scales, 3) “blues,” a scale that is rarely explored as a source for patterns, 4) “bebop-blues,” which adds a seventh note to the blues scale, and 5) “chromatic,” which is not necessarily “twelve tone” or even “atonal,” but features note groupings and transpositions using all twelve chromatic pitches. Unlike the last volume, I include theoretical explanations at the back of each chapter for those who are interested in how I think about developing my ideas into new patterns. This book is not meant to be a comprehensive source for any of these scales but is instead filtered by my own sense of taste and interest.