Patterns for partners

enzo76 wrote:

It will suck but at least it's a start!!

Aside from the camera footage being in reverse

... what do you expect?

in fact the premise was: it will suck!!!!!!

No ...come... seriously, how do you want to proceed?

I am a beginner... I still need the sheet music, I'm almost at 0.

Can you give me some support?

This is how I want to proceed!!!

Here is Enzo, I see the pattern... as a layman it doesn't seem to have much swing to me, do we need to give it swing and harmonize it?

Exactly, but this is a starting point; expert teachers continue to collect various little stones

The C Maj harmonization is clearly the most plausible (almost obvious); by intensifying the harmonic discourse and expanding the pattern, you can play on the sixth degree to have a hypothetical succession, taking every fourth note of what you write: C6b9 A7 G7b9/Ab A7

Why, an E-6?

enzo76 wrote:

expert teachers continue to collect various little pebbles

... I fear I haven't understood

blissful ignorance (mine) .... I ask you: what is meant by pattern? A melodic scheme to be repeated? A harmonic progression?

enzo's point is just a bar of melody, in what sense can it be defined as a pattern?

ps

in effect, from a rhythmic point of view, it is not particularly swingy, it lacks syncopation and therefore has more of a tarantella feel ....

AleGozzo wrote:

but what is meant by pattern? a melodic scheme to be repeated? a harmonic progression?

Perhaps useful

http://www.pianoconcerto.it/forum/index.php?/topic/648-variare-un-pattern-melodico/

thanks Martina, I understand it to be something very similar to a motif, perhaps even longer, to be elaborated.

however, it seems to me that to construct a piece, it is better to reason in phrases rather than with patterns of this type, which I find more suitable for developing solos, as one of the links indicated.

as long as I have understood correctly ....

Practically speaking, patterns are predefined melodic figures; each has its own background that can be showcased during performances.

Usually during improvisation, melodic profiles are stored in the form of numbers, which are the notes of that specific scale in that specific key... so as to easily transpose to other keys if the material were to be "recycled" in different ways

ok now it all makes sense

i thought it was a post about composition, instead the point is solo phrasing.

pardon and thanks for the clarifications.