We have
already studied the use of chord tones (triads, seventh chords and upper
extensions) in musical improvisation.
Approach note theory is one way to derive additional pitches and create
interesting and beautiful musical lines while traveling from one cord tone to
the next. Approach note theory establishes
these chord tones as the target pitches of our improvised melodies. Melodies travel from one target pitch to the
next, using other pitches to fill in the gaps.
The other pitches are often non-chord tones (although they can also be
chord tones). These other pitches can be
passing or neighbor tones. They can be
diatonic or chromatic. Their primary
melodic function is to facilitate traveling to the next target pitch.
In general, approach notes tend
to have shorter rhythmic values and are placed on weak beats. Of course there are always exceptions to the
rules. Approach notes can also be placed
on strong beats for brief moments within some musical contexts. In addition, this rule does not mean that all
target notes must be long in duration.
Some intricate lines may contain several eighth or sixteenth notes that
are a mix of approach notes and target notes.
However, these types of lines usually resolve with a longer tone that is
a target note.
Another
exception would be the use of a longer tone that is held over from a weak beat
to a strong beat as an anticipation. In
this instance, the pitch would be a non-chord tone in relation to the harmony on
the weak beat but a chord tone in relation to the new harmony on the strong
beat. It functions as an incomplete
approach that anticipates the new harmony and transforms into a target note.
Passing tones and neighbor tones
are the two basic types of non-chord tones used in approach note theory. A passing tone is a pitch that lies between
two chord tones in a melodic phrase.
When traveling from the first chord tone (target pitch) to the next
chord tone (target pitch), the passing tone serves to create a smooth melodic
line (stepwise motion).
A neighbor tone is a pitch that
lies directly above or below a target pitch in a melodic phrase. There are two types of neighbor tones:
complete and incomplete. A complete neighbor
tone phrase travels from a chord tone, up or down to the neighbor tone and then
returns to the original chord tone. An
incomplete neighbor tone phrase jumps to a neighbor tone and then travels to
the intended chord tone. Usually,
incomplete neighbor tone resolutions travel in a direction that is contrary to
the way they are arrived upon. In other
words, a jump up to an incomplete neighbor would usually be resolved down to
the target pitch, and a jump down would usually be resolved up.
Based on this knowledge of passing
and neighbor tones, here are some guidelines for the application of approach
note theory in musical improvisation.
First, select target pitches to focus on when traveling from one chord
to the next in a piece of music (can be any chord tone). Next, create melodic phrases that travel from
one target pitch to the next. While
creating these phrases, alternate between passing tones, complete neighbor
tones and incomplete neighbor tones to create a skillful variety of stepwise
motion, static motion and musical jumps.
Embellish you musical phrases with additional diatonic and/or chromatic
pitches. Use variations in rhythm and
the number of pitches to skillfully arrive at your target pitch on the
appropriate beat of the measure (as indicated by the chord changes).
One practice method for studying
the application of approach note theory would be to create and practice
performing all of the possible approach phrases for traveling between two
specific target pitches. Once these
approach phrases are mastered, the performer can transpose them to apply to a
new set of target pitches. This style of
practice aids in mastering a wide variety of approach phrases in a shorter period
of time.
Another practice method would be to
create 2 – 4 approach phrases for each chord change within a section (verse,
chorus or bridge) of a song. Practice
playing through the changes of the song applying these approach phrases in
various patterns. For example, one performance
could consist of playing approach phrase number one that you created for each
change. After each approach is mastered
in this way, another performance could consist of alternating between approach
phrase number one and phrase number two while playing through the chord
changes. Although this style of practice
may not cover as wide of a variety of approach phrases, it does aid in
mastering direct application to actual songs.
Some people prefer playing actual music to rehearsing exercises. This method would help such individuals to
remain engaged in the practice session.
When stringing various approach
phrases together to create a musical improvisation, it is important to remember
that recognizable melodic patterns help to orient and ground the listener. If a listener is bombarded with a collection
of random melodies that are not related to each other in any way, he/she can
become overwhelmed and lost in the music.
Melodic patterns serve to provide structure and order within the
music. In addition, melodies communicate
ideas and feelings. Recognizable
patterns aid in clarifying the melodic communication. Some composers have even used certain
recognizable melodic patterns to personify different characters in plays,
operas and movies.
In this
Learning Music With Ray video I discuss the concept of approach note theory and
explain how it can be applied to musical improvisation. I define the terms target pitches, passing
tones and neighbor tones; and I explain the roles they all play in approach
note theory. Finally, I provide musical
examples of approaches derived from the chord changes of a song. I explain how these examples can be used to
practice the skill of musical improvisation.
