EXTEMPORE PLAYING - online tutorial
40 Lessons in how to correctly play improvisations.
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Chord-Lines and Intervals 67 |
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The chief points to notice in employing chord-lines are:
(i) That, when a change, either to another cnord or to another device, takes place, this should occur on an accent, and
(2) That, when the chord-line ends, the melodic direction is usually reversed. These points are both illustrated in the examples just given.
During the continuance of a chord-line the direction of the active steps will not be observed. When, however, an active step either begins or ends a chord-line, its demands will be respected as usual.
Closely connected with the chord-line is the wide leap. The narrow leap (or third) may be taken anywhere, as already seen, but anything beyond that interval must be regarded as a fragment of a chord. Hence, the best leaps are those that are taken from the strongest chords. Thus from the I in C we obtain |
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Each of these may be used in upward or downward direction. All the other strong chords may supply further leaps, but the octave should not be taken upon the leading-tone. Illustrations: |
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In the use of a wide leap there are two important points to notice.
(1) The leap being regarded as an unusual and unexpected effort (an extreme departure from the easy course of the scale- or chord-line), it should be followed |
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