Motivic Development

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  1. Do you know any good books/exercises on motivic soloing? It could be rhythmic or melodic motivs.

    For me Chris Cheek is one of the best in this area, and because of that one of musicians I love most to hear.

    The only good book I know on this subject is Hall Crook - How to Improvise (Hal Crook was Chris Cheek teacher).

    One good exercise I found is to improvise with a certain beat of the measure (or group of measures) has our focuse point.

    http://ararur.bandcamp.com

  2. Gesture
    Member

    Personally I really enjoy this video. It's a really simple exercise but you can get so much from a simple idea. The possibilities are endless really.

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  3. Matt
    Member

    that's a really slick video.

  4. Great video, and great answer to my question. Thank you.

    Any more examples?

    http://ararur.bandcamp.com

  5. Matt
    Member

    one thing you could try is playing dotted quarter notes through a form. this will force you to think less 'between the bar line' so to speak, and in order to make the harmony evident, you'll find the common tones between chords since almost every phrase will end up tying across the bar line.

    Magical rainbow ponies
  6. Gesture
    Member

    Another exercise I've been doing lately is one where you practice playing phrases of different lengths. So for example: Over a 12-measure blues, first play two phrases of 1 measure each, then 2 phrases of 2 measures each and then end with a 4 measure phrase. This way you get 1-1-2-2-4. Then try maybe 1-1-4-6 or whatever you can come up with.

    Seperate each phrase with a rest and experiment with motivic development and maybe build up towards a climax.

    I believe this exercise is good for the 'story-telling' element in music.

  7. Dan Weiss phrasing

    Does anybody think this kind of phrasing would work well on melodic instruments? Any sugestions?

    http://ararur.bandcamp.com


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