(Remember that “diminished” can refer to a “diminished scale” as well as a “diminished” interval, when a perfect or minor interval is lowered by a half step.) With this new scale, Brecker’s phrase becomes a springboard for limitless improvisational ideas in many different contexts. This scale differs from a traditional minor pentatonic scale in that the perfect fourth and perfect fifth are now a diminished fourth and diminished fifth. Almost all these pitches are included in the B half-whole diminished scale.ĭrawing on the diminished scale, I attempt to capture this sound world with a new scale that incorporates these alterations to B minor pentatonic called the “diminished pentatonic scale.” Example 6 shows this scale starting on B, the same key used in Brecker’s solo. The pitches of the B minor pentatonic scale and Brecker’s additional pitches. Six of these seven pitched are found within the B half-whole diminished scale (E-natural is not, as Example 5 shows), providing a possible origin to the sound world Brecker crafts in his solo. Since these pitches depart from B minor, can we conceive of them as originating from another scale or mode? Example 5 juxtaposes the B minor pentatonic scale with Brecker’s included alterations of E-flat and F-natural. An analysis of Brecker’s solo on “Big Idea” showing B minor pentatonic harmony and departures from the home key. Instead, Brecker’s diversions from the home key create a captivating and bluesy alternative to B minor pentatonic. These pitches should clash with the prevailing harmony, as E-flat is a half step away from the minor third of B minor (D-natural) and F-natural is a half step away from the fifth of B minor (F-sharp). In measure 7, Brecker again plays an Eb, followed by an F-natural. In measure 2 there are two instances of E-flat. Example 4 applies some light analysis to the transcription, marking where Brecker departs from B minor. Many of Michael Brecker’s note choices can be heard as derived from this scale.īut what initially caught my ear and led to this phrase becoming a source for new pattern ideas are the instances in which Brecker leaves the home key and minor pentatonic scale.
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