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pivot note arpeggio from sao paolo masterclass.

(8 posts)
  1. Hi

    I heard a recording from a Kurt masterclass from Sao Paolo i while back. A question about coltranechanges came up and some stuff about playing lines trough the changes. He was also talking about a pivot note arpeggio that sounded realy cool. I did not get the idea behind it and im wondering if somebody trancribed it or/and can explain it further.

    Regards Z

  2. Sandemose

    Oh, I thought of this as well. Id love to hear some info on this one.

    Best, Sandemose

  3. mds90

    I noted something related to this topic on my personal book (I don't remember where I took)
    The example is on a II V I in Dmajor:
    | Em7 F7 | Bbmajor7 Db7 | Gb A7 | Dmajor7 |

    here is the voicings for each chord:

    x-9-8-9-10-x This chord "should" be a major 7 but becomes a 7#9 in function of the pivot movement

    Another similar example:

    | Em7 F7 | F#m7 Gmaj9 | F#7(#9) B7 | Em7 A7 | Dmaj7 |


    Maybe I meditated this chords movements after listening to J. Kreisberg version of "countdown" in which in the theme is showed the use of that chords.
    Maybe I heard something similar in Tal Farlow.


  4. Ok , not exactly what i was after but nice Mds90 ..

    Cant find the recording eighter so i cant explain i further.

  5. david6strings

    hey zjivve do you mean a pivot note like in classic music?

  6. gleepglop

    Are you talking about his weird non-tonal 'arpeggio' toward the end?
    It went something like: (up) F A E G B F# G# (down) E A F# B (up) Db F C D (down) Bb F C

    Not sure what the idea is either, except that take in groups of 3-5 notes, nearly each set is a logical arpeggio:

    F A E G B (Fmaj7#11)
    A E G B F# (A13 no3)
    E G B F# (Emadd9)
    G# E A F# B (B13sus4)
    Db F C (Dbmaj7)
    D Bb F C (C9sus4)

    Moving from chord to chord, there is a common tone pivot to get to the next arpeggio, so locally it's tonal but globally it's atonal.

    In a way this seems similar to Garzone's chromatic triad concept, but in another way, it's the complete opposite.

  7. Thats it dude ! as i said, i cant find the recording but i recognize it. Tanx !


  8. Matel

    I was on that masterclass, and Kurt was talking about Synthetics...he was working on different arpeggios...intervallic...
    i think the final note sequence was B C#(Db) F C D Bb Eb C....

    Magical rainbow ponies


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