Tag Archives: AfuriKo

Benji & Rita and AfuriKo @ The DiMenna Center for Classical Music / Oct. 5, 8PM

AfuriKo feat. Corey Wallace @ Tomi Jazz / Sept. 26, 10PM

deriving tetratonic scales from the “new notes” on Oleleko


Let’s have a look at the chord grid for the solo section on Oleleko (the electric piano improvisation happens from 2’02 to 3’35 on the recording):


The following table lists all chord symbols, the parent scales they derive from, and their “new notes,” which is a concept introduced by contemporary jazz pianist and composer Laszlo Gardony (for each chord, we list the notes in the parent scale that were not present in the scale corresponding to the previous chord – this helps to give a sense of forward motion to the music and emphasize the shifts in harmony as we go through the grid):

Bar Chord
Symbol
Mode
(Parent Scale)
New
Note(s)?
121 C7 C mixolydian
(F major)
C D E A
136 D7(#11) D lydian dominant
(A melodic minor)
F# G# B
137 Eb6 Eb ionian
(Eb major)
Eb F G Bb
139 Eb7sus Eb mixolydian
(Ab major)
Db
141 Eb6 Eb ionian
(Eb major)
D
143 Eb7sus Eb mixolydian
(Ab major)
Db
144 E7(#11) E lydian dominant
(B melodic minor)
E F# B D
145 F#6 F# ionian
(F# major)
D# E#
147 F#7sus F# mixolydian
(B major)
E
149 F#6 F# ionian
(F# major)
E#
150 Db7(#11) Db lydian dominant
(Ab melodic minor)
G

Now let’s find possible tetratonic scales based on those “new notes” (using four-note scales will enable us to limit our melodic choices and create wider, more angular intervals, while including as many of the “new notes” as possible in order to retain the characteristic harmonic shifts in the music):

Bar Chord
Symbol
Tetratonic
Scale(s)
121 C7 A minor (= A C D E)
136 D7(#11) E major (= E F# G# B)
137 Eb6 Eb major
139 Eb7sus Db major, Bb minor
141 Eb6 Bb major, G minor
143 Eb7sus Db major, Bb minor
144 E7(#11) B minor
145 F#6 C# major, A# minor
147 F#7sus E major, C# minor
149 F#6 C# major, A# minor
150 Db7(#11) Eb major

When there are two tetratonic choices, I simply go with the one I like best (in bold in the table above). By all means, feel free to experiment with both options and chose whichever sounds most satisfying to your ear!

Finally, and for the purpose of practicing, we can further break down these tetratonic sounds into triads: once you feel comfortable improvising using the triads exclusively, it’s easier to play the full tetratonic scales (adding a major second to major triads and a perfect fourth to minor triads to get the corresponding tetratonics).

Bar Chord
Symbol
Tetratonic
Scale(s)
Triads
121 C7 A minor A-
136 D7(#11) E major E
137 Eb6 Eb major Eb
139 Eb7sus Bb minor Bb-
141 Eb6 G minor G-
143 Eb7sus Bb minor Bb-
144 E7(#11) B minor B-
145 F#6 C# major C#
147 F#7sus C# minor C#-
149 F#6 C# major C#
150 Db7(#11) Eb major Eb

Complete sheet music for Oleleko (from the album Tao) is now available on SMP Press:


Visit http://funnelljazz.eu/lessons/ for detailed information about lessons or click on the image below to book your lesson today:
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comping practice on AfuriKo’s “Sorsornet” harmonization

Sorsornet is a rhythm from the Boke region in Guinea. The chord progression came from harmonizing Mamady Keïta‘s version (on his album Nankama) of one of the traditional songs that go with the rhythm (AfuriKo‘s arrangement will be featured on the duo’s upcoming album).

The chords I used for comping in this video are mostly 5-note 2-hand jazz voicings. I’ve notated some of them for your consideration below:

Sorsornet comping practice

And here’s a short explanation of how each one of the 12 notated voicings relates to its corresponding chord symbol:

  1. C#mi7: inversion of generic “So What”/quartal voicing for minor chords;
  2. F#13: generic voicing for dominant chords (right hand plays a 3-note quartal voicing from the 5th down while left hand plays guide tones);
  3. D#mi7: generic “So What” voicing for minor chords with 5th as top note;
  4. E6: inversion of generic quartal voicing for major chords down from the root “E”; can also be considered a generic quartal voicing down from the 5th “B” with the root instead of the 7th in the bottom;
  5. F#9sus: inversion of “So What”/quartal voicing for sus chords;
  6. F#/G#: ditto;
  7. G/A: ditto;
  8. F#2/A#: upper structure triad (UST II) from C# melodic minor; the parent chord scale to this F#2/A# chord is A# locrian #2 (VIth mode of C# melodic minor);
  9. Ama7/B: inversion of “So What”/quartal voicing for sus chords;
  10. Ama7(#11): “So What” voicing with #11th as top note;
  11. F#mi9: generic “So What” voicing for minor chords with 5th as top note;
  12. C#: upper structure triad (UST II) from F# melodic minor; the parent chord scale to this C# triad is C# mixolydian b6 (Vth mode of F# melodic minor).

NB: the very cool djembe part (with additional foot shakers/rattles) in the video was performed by courtesy of wonderfully grooving percussionist Akiko Horii!


Visit http://funnelljazz.eu/lessons/ for detailed information about lessons or click on the image below to book your lesson today:
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