altered sound harmonic/melodic ideas

What are a few things that can be done when an altered dominant chord presents itself in a tune? The first notion to be aware of is that the altered chord derives from the altered mode, otherwise known as mode VII of melodic minor. Below are a few tricks to break out of the diatonic sound of the scale (i.e. by introducing intervallic leaps in addition to the stepwise motion inherent to seven-note scales), and gain a little freedom with it. We will use Eb7alt as an example throughout this post.

First, let’s have a look at 5 different triads that can be played in the context of upper structure triad voicings (USTs) for an altered chord. We’ll use these triads as “numerators” of the UST voicings, the “denominator” always being the basic chord sound (i.e. chord tones 1, 3, and b7 sounded together):

  • bIImi
  • bIIImi
  • bV
  • bVI

Both minor triads on the one hand, or both major triads on the other hand, can be combined to form two distinct hexatonic scales, which can in turn be used as interesting melodic devices to play lines over the altered chord:

  • Hexatonic 1 = bIImi + bIIImi
  • Hexatonic 2 = bV + bVI

Granted, these two hexatonics are only slightly different. Let’s put them under the microscope:

Hex. 1Emi + F#miE F# G A B C#
Hex. 2A + BA B C# D# E F#

The only difference between the two scales is that hexatonic 1 has a G (and no D#), while, conversely, hexatonic 2 has a D# (and no G). From an additive point of view (when both hexatonics are combined), we fall back onto the full, seven-note altered mode (D# E F# G A B C# D#) derived from melodic minor (E F# G A B C# D# E). But looking at the two hexatonics from a subtractive viewpoint (taking the G and the D# out of the scales), then the fact that we are left with the same five notes (E F# A B C#) becomes apparent. These notes make up a pentatonic scale (bIII minor pentatonic/bV major pentatonic relative to the degrees of the altered mode), which can also be used as an even more angular melodic device, in the sense that it is more salient than the hexatonics from an intervallic perspective:

musical meditation technique: strengthening the mind’s ear


By knowing words you do not know the language. What you know is the outside language; the inner language is known by knowing the language of ideas.

Hazrat Inayat Khan, The Healing Papers

Meditative practice (i.e. playing music within yourself) has considerable benefits when learning a piece of music. Incidentally, it can also come in handy whenever your instrument isn’t within immediate reach (for example, if you feel like practicing whilst traveling, or if for health reasons you must avoid overusing your hands or wrists and refrain from playing for a while…). Following the advice of French pianist Jean-Claude Henriot (my mentor back in the days when I was a student at the Conservatoire in Évry), I recall making use of this technique in order to prepare for classical piano end-of-year exams and recitals.

All you have to do is choose a piece of music which, to the best of your knowledge, you are close to having committed to memory¹. Then play it in your mind as precisely as possible. “Hear” it in great detail, “feel” the touch of the piano². For beginner/intermediate pianists, Bach’s Inventions work really well because they consist of only two contrapuntal parts — not too arduous (particularly at slower tempi), but just challenging enough to try and hear simultaneously… Of course, you can choose virtually any piece of music. When a passage seems unclear, go back and “replay” it in your mind again, (much) slower if necessary. Repeat it as many times as needed, just as you would when practicing on your instrument, until you’re able to hear each note, each rhythm, each item of phrasing or expression, with utmost precision.

This kind of practice certainly requires sharp concentration, and thus works best in a calm environment. I used to go on long walks in the fields near my parents’ house to do this. Natural settings such as mountains, forests, or bodies of water are perfect for such meditative activities… As many of us live in cities though, any location where you’ll be able to enjoy some piece and quiet and remain undisturbed for a while will do just fine.

It may take some time to grow accustomed to turning your attention within yourself and practicing inwardly. But don’t give up; patience is key here! If practiced thoroughly, the benefits of musical meditation will certainly be felt upon returning to your instrument as soon as the following day (it’s often a good idea to allow the mental exercise to fully sink in overnight). Overall, your knowledge of your chosen piece of music will deepen considerably. As you rely less on muscle memory and more on hearing inwardly, your true memory, which stems from the heart, will take charge. No longer will you struggle to remember what notes to play. On the contrary: a sense of freedom will pervade your playing and enable you to wholly concentrate on delivering a vibrant message, with full expressiveness and musicality.


So the language of ideas cannot be heard by the ears alone, the hearing of the heart must be open for it.

Hazrat Inayat Khan, The Healing Papers

Notes

¹ By doing this exercise, you’ll likely find out that you were in fact relying on muscle memory too much — if not exclusively — before, particularly when playing the very sections that need the most polishing and internalising.

² This also works for non-pianists of course, as the goal is to develop the inner musical sense, in order to complement (or, should I say more accurately, provide a foundation for) the more familiar feeling of making music in the physical world. Just mentally recall the sensation you experience when playing your particular instrument.

cantabile style playing: practicing both legato and staccato

I’ve recently been working on most of Johann Sebastian Bach’s Two-Part Inventions as a kind of warm-up for the fingers and the ears (I learn them by heart and usually go through several first thing in the morning or at the beginning of each of my piano practice sessions). As I was playing No. 3 (D major) today, I realized I mostly was using legato phrasing and decided to venture into a staccato rendition of the piece. With the change of expression (staccato versus the former legato phrasing), I found myself much less self-assured: my memory failed me and I had to refer to the music on a couple of occasions. This, to me, was an indicator that I wasn’t hearing the melodic lines as clearly as I thought I was able to. Indeed, I don’t think my memory would have been caught off guard in that manner if a had been hearing them strong. So in addition to being a useful technical exercise, practicing cantabile style playing using both legato and staccato phrasing seems to be yet another great way to strengthen one’s inner hearing, and thus a very musical exercise. Highly recommended!


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Spirit of the Snail album review: Le jars jase jazz

Review (in French) of Jim Funnell’s Word Out’s second studio album Spirit of the Snail on jazz critic Guillaume Lagrée’s blog Le jars jase jazz (also available on paperblog.fr).


Jim Funnell’s Word Out
“Spirit of the Snail”

Produced by Jim Funnell
Released on Tuesday, 22 September 2015
CD release concert at the Sunside in Paris at 7.30pm on Tuesday, 22 September 2015.

Jim Funnell: piano and compositions
Oliver Degabriele: acoustic bass
Thibault Perriard: drums
Isabelle Oliver: harp

“Dear cosmopolitan and xenophile readers,

As you know, the EU motto is “United in diversity.” As far as politics are concerned, it remains to be proved. On the subject of music however, British pianist Jim Funnell, Maltese bassist Oliver Degabriele, and French drummer Thibault Perriard illustrate it perfectly every time they play together. I have already praised their music in concert and in the studio. On this album, the triad is augmented with the presence of harpist Isabelle Olivier. She is nor a feminine alibi for a masculine trio, neither a classical one for a jazz trio. Her harp sounds like the kora of a Mandinka master.”

“[ Jim Funnell’s ] music is the singular result of a thorough reflection on rhythms, sounds, and colors.”

“Whether you want to stimulate your ears, your brain, or get your limbs in motion, enter the Spirit of the Snail with Jim Funnell and his band!”

– Guillaume Lagrée

L’Improviste concert review: Le jars jase jazz

Guillaume Lagrée’s review of Word Out’s concert at L’Improviste in Paris (April 2013) on his blog Le jars jase jazz.

🇫🇷 “Il n’y a pas réellement de solo dans le jeu de ce trio. L’échange est permanent.”

🇬🇧/🇺🇸 “There’s no real soloing in this trio’s approach to making music. The interplay is permanent.”

Guillaume Lagrée, Le jars jase jazz

🇫🇷 “Il y a des pianistes qu’on n’entend pas assez, dont on ne parle pas assez et qui ont plein de belles histoires à raconter comme Jim Funnell. … Il faut aller le voir, l’entendre, l’écouter dès que possible.”

🇬🇧/🇺🇸 “There are pianists who aren’t heard enough, who aren’t talked about enough, and who have plenty of great stories to tell. Jim Funnell is one of them. … You have to go and see him, hear him, listen to him as soon as possible.”

Guillaume Lagrée, Le jars jase jazz

Word Out album review: Le jars jase jazz

Review (in French) of Word Out’s eponymous debut album on jazz critic Guillaume Lagrée’s blog Le jars jase jazz.


Word Out
Self-produced, 2009

Jim Funnell: piano and compositions
Oliver Degabriele: acoustic bass
Thibault Perriard: drums

“Dear attentive and focused readers,

You may have noticed that I already praised Word Out in concert, when the trio gave a sneak preview of their freshly recorded upcoming album, Spirit of the Snail; I certainly will tell you all about its release in due time.

Meanwhile, since it’s never too late to do well, let me trumpet the delights and merits of their eponymous debut album Word Out, released in 2009.”

“Word Out does not claim to revolutionize the piano trio format. These young musicians are not conceited. They are simply fresh, alive, curious, open-minded, joyful, and listening to their music does heaps of good.”

“If I had to choose an excerpt from this album, it would be their version of David Bowie’s “Space Oddity” (track no. 7). [ … ] Here, they take a classic, preserving its raw pop energy and conserving its British majesty while instilling a sense of swing typical of jazz music. A complete success from the first to last note.”

– Guillaume Lagrée

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