As a matter of taste, the application of different concepts, has always been a great challenge in my research of the language. Such concepts include: lyricism (by lyricism, I refer to melodic treatments for the target notes within a melodic contour and the use of space), right hand techniques (Hybrid picking, Legato, Sweep/Alternate picking and tapping), Extended Arpeggios, superimposition of scales, arpeggios over chord changes and connections of sonorities in a musical context. In my opinion, the ability to incorporate the concepts in a real situation (creating music through performance and composition) is a challenging concept to develop, and a clear goal of my musical language. This lead me to write this e-book expressing some lines that have this approach in mind.
“Analyse, practice, and internalise. Three forms that aid the expression of new ideas in a musical situation. By “analysis”, I refer to the capacity to theoretically understand what you are playing. “Practice” is to put it on your instrument slowly, but most importantly, trying to hear what you are playing concisely, and making the most mental representations you can of the sound. This puts the focus on the relationship between what you hear and the movements of your body when playing (playing with your eyes closed is strongly recommended). When your ear and physical movements are synchronised, then you know you have internalised the concept. As another tool for the process, Transposition is a great way to approach internalisation.”
In each line of the e-book, I tried to put into practice the concepts mentioned before. There are indications in tab notation of the positions where I play the line and right hand technique. Legato indications aren’t present, as they are implied in the notes that don’t have the right hand attack articulation. Feel free to use hammer-ons, pull-offs or slides as you like. Also, this is why I didn’t note down left hand fingerings. Use the fingering that is most convenient for you. There is an implied harmony I thought of when writing the lines, but please keep in mind that these lines can be used in other harmonic contexts. Be creative!.
In addition, before each line, I have a brief analysis of the concepts used when I create them. Keep in mind that melodic treatment (such as chromatic enclosures, pivots, change of direction, octave displacement among others) are used in all the lines, so this is not deeply explored unless it is a special characteristic of the line.
This e-book comes with some backing tracks in mp3 format for you to practice to: 1. A reference to play the lines in a “hip hop” style (please keep in mind that this backing is in a double time tempo, play the line as they were in a 16th note rhythm), 2. In a normal tempo “walking bass” mood. 3. A Pedal bass approaching a 3 against 4 and a pedal in a slow tempo swing.
There are 10 melodic lines in the ebook, this lines have the particularity that you can use them in any harmonic situation. I tend to approach the concept of “Tension/relax”. Lines 1 to 5 are over an implied harmony and lines 6 to 10 are over a minor blues progression.
As well, a video link of me playing each line.
Also, each line of this book is also available for single purchase.
Please feel free to leave a comment at the end of this post. Means a ton.
I hope this is useful and that you enjoy it.
“I encourage you to upload anything you studied from here to social media and tag me if you want, I´ll repost” Let´s use the hashtag #MML1
The Purchase includes:
– A single PDF of the E Book.
– A total of 19 Mp3 Backing tracks:
6 “Hip-hop” backing tracks, (tracks 1 to 5 and a minor blues).
11 “swing” backing tracks (tracks 1 to 5 at two different tempos and a minor blues).
2 pedal bass backing tracks ( a pedal bass with a 3 against 4 feel and a medium slow swing).
– A video link playing each line.
(Included in the PDF)