Sax on the Web Forum banner

1 - 1 of 1 Posts

121 Posts
Discussion Starter #1
i wasn't sure where to post this, but i just wanted to start a discussion about personal approaches to other words, what are some of you's guys ways of thinking about some of the sounds you create? particularly note/chord structures.
i play a lot of free improv, which can sometimes be atonal or stretch i'm interested in hearing different peoples approaches to creating a specific "sound". by sound i mean a "bluesy sound" a "bebopy sound" or a "rock sound", "smooth-jazz sound"..etc...
i realize much of the differences in these sounds comes from timbre, articulation and other factors, but for this discussion i'm just interested in the notes/scale aspect...
here's one of my approaches..i call the concept metascales:

scales are built on intervals from one note to the next..for example:
a major scale would be(W=whole step, H= half step) W W H W W W H

now, if you take another musical structure like a chord or scale(let's use a pentatonic scale) and play every transposition through the base structure(in this case the major scale), you can get some interesting sounds.
for clarification, the transpositions would go like this(if we use the base scale C major):
Cpentatonic, Dpentatonic, Epent, Fpent, Gpent, Apent, Bpent

now trying playing each pent. scale as a "note" in the C major scale.
in other words, try playing some simple ideas in C
C E G A G.
but instead of playing those notes, play the pentatonic scales whose roots are those notes. you can make a large variety of patterns and fluid chromatic lines transposing in this way....but also if you stick to the base scale it creates a specific tonality, despite the fact that you are playing 7 different pentatonic scales.

this concept of "metascales" can be applied to any chord structure/scale...
for example...earlier i used the major scale as the "base" could use any scale/chord as the "base" and the same is true of the transposing scale.. although i've found that for the transposing scale it's most effective to use a "softly dissonant" or non-dissonant scale like a pentatonic scale...because there are no leading tones, therefore your ears can accept the "base" scale tonality more easily....

anyways does this make sense to anybody?
please share your own personal approaches!

also if anybody's interested in hearing this concept i'll record some ideas and post a link: !: :)
1 - 1 of 1 Posts