The idea of repeating the patterns over larger intervals (ie. major 6ths instead of minor 3rds) to "break-out" of a somewhat closed scale sound is fantastic - thanks for sharing!
Really helpful. I have the book and found it a great help in developing my skills in tenor sax playing but you have made sense of it in terms of improvisation. Thank you.
The Slonimsky book is packed with things to explore. Not the kind of book you work through from beginning to end, but find something interesting and explore it, one idea at a time. SO many great musicians have been known to work with this publication. I love the octave division into 4 equal parts. As you said it's about thinking in intervals not scale patterns. Another great lesson Mikko! The Slonimsky book brings to mind 2 other books. The the repository by Yusef Lateef, which I haven't delved into yet... but looks promising. The other is A System of Tonal Convergence for Improvisors, Composers, and Arrangers by Ted Dunbar. I've been exploring this book on and off for about 30 years. It's now long out of print and from my searches have only found it available from Scribd... unfortunately whoever uploaded it there only gave them about half of the book. I do have an original copy and wouldn't mind sharing since it's going for outrageously inflated prices of which the original copyright owner receives nothing. The great Ted Dunbar is deceased so I doubt it will be going back into print. Right now my computer isn't working and there's no way to fit a scan onto my "smartphone". Perhaps once my computer is working I could share it through google drive or another method if you're at all interested. Cheers, and thanks for all your great lessons. ☯️☮
@@Nikosi9 It will be awhile before I can do it. My computer needs repairs and that particular book is in storage in another city. But I will do it when it's possible. It will be large file and won't fit in an email, but I can use file sharing through google drive and you can download a pdf from there. My email is newfusionmusic@gmail.com
Thank you for the breakdown. I really appreciate your perspective and insight. I have had this book forever. I couldn't grasp the concepts presented in the book. Your presentation helped bring clarity to the concepts. Thank you again sir. I am subscribed to your channel.
@@silvermann6515 I'm sure it will come up 🤠 I have one more video on the topic at the moment. It's called creating augmented ideas or something like that
At 14:05 in your video you begin discussing example #405 from Slonimsky's book(Thesaurus of scales and melodic patterns), which queries 12 tone, and also says to play as chords. So I said to myself wait a minute, grabbed my guitar and worked out the notation's fingerings. Between listening to your comments in the video and playing vertically at first, I really became lost! then I began looking at the interval relationship of the notes and noticed what you were saying in the video, every 3 notes spelled out a sus2 triad in the first one and a half bars. I started playing the sus2 triad chords, again vertically(I had to use different inversions of course) , but that still didn't clarify anything. It wasn't until I started playing everything horizontally that started noticing the symmetry in the patterns! I noticed how the sus2 triad arpeggios(the 5th starting on the 6th string) were ascending in minor 3rds, the triad chord forms( root falling on the 5th string) were following the same symmetry(ascending in minor 3rds). then I started thinking how diminished chords and scales when ascending/descending in minor 3rds convert into an inversion of the same chord/scale, but these sus2 chord/arpeggios don't repeat any of their notes! I then tried playing the sus2 arpeggio and when landing on the root, instead of playing the relative sus2 triad chord, I substituted the diminished 7th chord of the same root note(falling on the 5th string), that's when I went to the Wikipedia page about 12 tone and tone rows! An interesting way to realize a musical epiphany, one of the rules of creating a 12 tone row, is that none of the notes repeat. Previous to this video, I had no acquaintance with 12 tone technique nor tone rows(very complex topic by the way). Thanks to this video and subject matter(diminished scales) I've learned that sus2 triads can be used to create interesting melodic/patterns and lines juxtaposed with diminished as well as sus2 harmonies/chords, and 12 tone rows. Sometimes we learn from things being clearly explained, and sometimes we learn from things being not so clearly explained, in any case thanks for the lessons Mikko!
Great video. Terms like Interpolation and Ultrapolation are explained clearly in the introductory text (p ii). Inter = between, Ultra = outside/above. So interpolation places a note inside the interval, and ultrapolation places it outside (above). Similarly he uses the term “Infrapolation” to place a note below.
Thanks for illuminating this daunting topic. I don't think I'll purchase Slonimskys bk as I am not at that level. I will work on expanding my diminished jazz vocabulary based on approach notes and varying intervals. Thanks again to pointing the way forward in my growth as a jazz guitarist. cheers from the Yukon
this is coincidental...recently I studied over C7 d g c- C F Bb Eb7 F Bb Eb Eb Ab Db etc I was again wandering if this was foundable somewhere yes it is. Never looked in to Thesaurus, but heard about it's danger: You become realy dangerous if you get it
what danger did you hear about Slonimsky's Thesaurus and why should you not take a look into it? if you're not looking into the references being given, digesting and comprehending them, then what are you learning from the video lesson above? The whole point of studying(a lesson) is to get it! (to a point of understanding) Try taking a look at the comment I left above, please tell me what you think...
My favourite(maybe you know it) Cmi Ebmi F#mi Ami superimposed over a Dominant like C7 or else: C Eb G C B F# Bb F(now Eb starts) Eb Gb Bb Eb D A C# G# etc the B F$ Bb is the magical part what sound best if you let them sound over eachother ...
Sone jazzers that love this book and are clearly influenced by it: Coltrane, Herbie and Jaco. I guess they sound awful and should just play jazxy melodies. I'm glad I have an open mind for all kind of ideas and don't have a preconceived idea of what Jazz should sound like. 😎👍
@@Mikkokosmos Fair enough, but Jimmy Bruno is famous for saying out with the books! in with melodies! I think this book might provide ideas for someone at the very top of their game. You would think just working through the Charlie Parker omnibook would be enough for a lifetime!
