The Shape Method – Chapter 18 with Lynn Baker


Hi this is Lynn Baker, I’m the chair of the Jazz Studies and Commercial Music Department at the University of Denver, Lamont School of Music. Welcome to The Shape Method. This is a lesson on a chapter from The Shape Method for Jazz Improvisation. Hi and welcome to chapter eightheen of The Shape Method. In this chapter we’re
going to deal with the rhythmic concept of cross-metering an the harmonic concept of super-imposition on Dominant chords that
have sharp five. So, cross-metering is defined in
The Shape Method as repeating the same group, grouping of notes that are in contrast with the underlying
meter. That’s different than re-barring that we covered in an earlier chapter. So the best way this is usually done is to, is to you sequence in your line. So if
you happen to be stringing three notes together over the meter of four-four, it’s really
recognizable to listener if you do in a sequential way. Say, by tonal sequence in the key. Five notes, same thing if you do sequences it works pretty well to do this because
it really lines. Up now it’s fun to practice this because you
can start in different places and get rhythmic resolutions at different
distances away from where you started. So try it with threes, try with fives, and make sure you just keep that
underlying four-four where you’re cross-metering on top of it, either three groups or five groups – either through an accent pattern or through a
sequence. The next part is super- imposition of dominant chords that have
a sharp five. Now there are five different major or minor
triads that have this function that if you have a major triad in the bottom and you put these
triads on the top they either create or imply an altered dominant chord. The two that you really need to be conversant with to be functional here
are is Flat ii minor and Flat VI major. Now there’s a little bit of adjustment needs
to be made in terms what a consonance tone is when you’re dealing with super-impositions that have sharp five Dom chord. And that is that usually the bottom
triad, first order triad, is one, three, five, and
six – those the consonance tones and we don’t count the other we don’t
count the six on the super-imposition chord, just one, three, five. Those are the consonance tones up there. On dominant chords that have a sharp, five we do it the other way around. We count one, three, five of the bottom chord (sometimes not even
five) and then on the top triad we count one, three, five and six. Notice, if you think about it in those ways it gives you the right colors for those dominant chord sounds. So, cross-metering and colorful dominant
chords through super-imposition. Use those things
as you practice. Thanks for watching and I hope you enjoyed the chapter. To go deeper into the ideas, purchase The Shape Method. You’ll receive detailed information, more examples, listening suggestions, composition and
performance exercises, and appendices of public domain jazz
language, and an explanation of why the Blues Scale works and more. Get chops on the concepts by purchasing the Etude Supplements Volume One and Two. Please subscribe to the channel, and tell your friends.

Leave a Reply

Your email address will not be published. Required fields are marked *