soloing over sugar free [dorian mode on parade]

7/30/2019 SOLOING OVER SUGAR FREE [Dorian Mode on Parade]

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SUGAR FREE

Being able to solo over this song requires knowing1) the key signature2) what chords you are playing over3) scales/modes that fit those chords4) patterns/lines based on the scales/modes that fit the chords.

Lets begin with the key signature. Basically, the song is in G minor (concert). That means E minor for Eb

instruments, A minor for Bb instruments.That means we must first look at the ubiquitous G-7 chord, which we will graciously add tension 9 (forthose who may not have been around for one of my previous clinics, tensions are simply the logical

upward extensions of 7th chords. For those who arent quite sure what 7th chords are, my prayers are with

you. Just kidding. Seriously, Ill have some extra material available in the completion of the book this has

been excerpted from).

Fig. 1

The chord spelled out is G Bb D F A. G (root) Bb (distance of a minor third between it and G, therefore it

is designated b3) D (fifth or 5) F (distance of a minor 7th between F and G or 1 and b7) and A which

rounds out as the ninth or 9. The next step is to figure out the scales that are available to play over this

particular chord. Again, well stay in concert pitch and you, the student, can transpose to your instrument,(or clef as it were.)

Since we are in G minor, obviously the G pure minor scale is available

This scale includes b6, since it IS G minor. Of course, you will want to develop some patterns based on

this scale, and not simply play it up and down. Try playing the scale in intervals of thirds (1 b3 2 4 b3 5 4

b6 | 5 7 b6 8 b7 9 b7 5). You can figure out the notes by looking at the scale that is written. Place them ineight notes and youll be able to see a pattern form. Using this example, you can create more than one

pattern with this scale. You arent limited to beginning on the root of the scale; you can also start with b7.

Instead of beginning on g, start the pattern on F. You can make it into a basic scale pattern by beginning

on the b3, skip b6 and go to b7 leap up to the 9 th and descend back down (b3 4 5 b7 9 8 b7 b6 | 5 b3 2 1 42 1 b3). The line in the middle designates a bar break.

Here you see the G-7 chord with tension 9spelled out. Again, this is concert pitch. You

will want to transpose this to your respective

instrument, as it will aid you in developingdiscipline as well as your inner ear.More onthe inner ear concept during the *Skype

lessons. You will notice the numbers. These

are merely intervallic designations. The (b)

signs do not necessarily mean accidentals; theyare more to designate the intervallic space

between the root and that note.

Fig. 2

*Brooks Music Education Systems will be offering SKYPE lessons June 2010.

Concepts and figures outlined here

in are property ofBROOKS MUSIC EDUCATION

SYSTEMS

2010 ALL RIGHTS

RESERVED


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It is also possible to substitute the G minor pentatonic scale in place of the G pure minor scale.

In fact, there are multiplicities of combinations, but for our purposes, we will use but one final example:

the Dorian mode. The two primary chords used in Sugar Free are

G-7 (9)

And C-7 (9)--

Here are the G Dorian and C Dorian modes respectively

G Dorian

Fig. 6

Fig. 3

(The C in the Bass Clef example is dropped an octave with the 8va over for notation purposes.)

Here again, you see the C-7 chord with tension

9 spelled out. Again, this is concert pitch. You

will want to transpose this to your respective

instrument, as it will aid you in developingdiscipline as well as your inner ear. You will

again, notice the numbers. Again, these are

merely intervallic designations. The (b) signs

do not necessarily mean accidentals; they aremore to designate the intervallic space

between the root and that note.

Fig. 4

Fig. 5

Note that the sixth scale degree is no longer lowered. Even though the key signature is

classified as the relative minor of Bb major, we can substitute G Dorian (based on the 2 nd scale

degree of the F major scale) in place of the G pure minor scale.


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Fig. 7

The same principle holds for the C Dorian scale, which actually occurs naturally in the key of Bb major.Simply by moving from the 2nd scale degree to the 2nd scale degree of Bb major (or for that matter, ANYmajor scale), you will find the corresponding Dorian mode. As an exercise, create patterns using both G

Dorian and C Dorian. You can actually go back and use the previous examples; just make certain you use

the scale degrees from the Dorian examples as opposed G minor. For example the very first example, the

one in thirds, would now read (1 b3 2 4 b3 5 4 6 etc), instead of b6.

Remember those logical upward extensions of 7th chords that we called tensions? We can actually

extend them to 11th and even 13th extensions or tensions. The following example, Fig. 8, is an example of

breaking the chord up and adding the 11th. You will notice the addition of the accidental C#; basically ablues scale type alterationyet another of the myriad choices that are available.

Fig. 8

In Fig. 9 this same pattern is based on the C Dorian mode

Fig. 9

Note that as we ascend in playing this G-7 chord, we also add the 11th (C), and return

playing elements both of the G Dorian scale (the E natural), and the G blues scale (the

C#, which technically speaking should be written Eb, but you get the idea.)

Note again that the sixth degree is no longer lowered. Without going into detail on minor harmony (a discussi

covered at length when the book is released) instead of the normal scale that would be used (C minor) we can

again substitute Dorian in place of the C pure minor scale. Again we arpeggiate upwards on C-7, adding the

(D), 11th (F), and descending--partly Dorian and partly Blues scale.


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Using Figures 1-8, it is now possible to construct patterns from which we can construct linesphrases

which when strung together form solo passages. Im going to include 16 bars of an alto chorus. From thisexample, it should be possible to construct your own solo passages. With the addition of the excerpts from

the upcoming Brooks Music Education Systems book on improvisation, you will no doubt have an

interesting time putting a few creative things together! Good Luck!

soloing over sugar free [dorian mode on parade]

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