Page 1 PROLOGO 1 2 3 4 Mayor 5 6 7 8 1 2 Menor Melodica b3 4 5

Anuncio
e {L``i` s` t` a` d` o` ` d` e` ` E` s` c` a` l` a` s` } e
PROLOGO
En este listado se muestran algunas de las escalas más utilizadas habitualmente,
agrupadas y organizadas cada modo con la escala a la que pertenece.
Mayor
1
2
3
4
5
6
7
  






8
1
Dorica
(II de Mayor)
2
b3
4
5
b7
6
2
b3
4
5
6
7
8
8
1
2
3
#4
5
b7
6
Menor Natural (modo eolico)
(VI de Mayor)
Alterada
(VII de M. Melodica)
4
5
b7
6
8
1
   





1
2
b3
4
5
b6
b7
2
b3
b5
4
b6

      
8
1
b2
#2
3
b7
b3
4
b5
b6
b7
#2
8
3
#4




 
2
3
5
6
8
3
4
5
b6
b7
8
( De todas estas escalas,
las más utilizadas en la música
moderna y en estilos como
jazz o pop son:
mayor, mixolidia, dórica,
pentatónicas y blues )
   





1
5
8
3
#4
#5
b7
8
   







8
1
Pentatonica Menor
(VI de P. Mayor)
  




1
2
Disminuida Simetrica
(tono/semitono)
b7
6
Pentatonica Mayor
1
7
Exatona
(tonos enteros)
   








b2
b6
8
Disminuida Simetrica
(semitono/tono)
1
b2
1
8
#5 b7
#4
   






b2
5
 





 
 
Locria
(VII de Mayor)
1
4
Locria (#2)
(VI de M. Melodica)
 







 
3
b3
2
Mixolidia b9b13
(V de M. Armonica)
8
 




 
2
1
 





 
Mixolidia
(V de Mayor)
1
  






Lidia Dominante
(IV de M. Melodica)
 





 
1
Menor Armonica
Menor Melodica
  





b3
4
5
b7
8
2
b3
4
#4
#5
6
7
8
Escala Blues
(P. Menor + blue note)
  






1
b3
4
#4
5
b7
8
( Es imprescindible, a la hora de hacer una correcta elección y utilización de las escalas,
conocer la función armónica del acorde sobre el que nos encontramos )
7
e {4``.A``} BLUES: (Eb-) e
LECCION 4
Escribe una melodía para este blues, apoyándote si lo deseas en la escala que tienes abajo.
(8 X)
Rock q=150
Título: __________________________________________________________________________________________
( Ponle un título a tu composición )
(3+2)

E¨-7
5
 &4


A¨-7
E¨-7
B7
B¨7b9
E¨-7

09
Toca la melodía que has escrito dos veces y luego improvisa con la escala abajo indicada.
Si lo deseas, utiliza cualquier material melódico que se ajuste a la tonalidad y a los acordes.
MIb BLUES



 
      

e {4``.` B` } ESCALAS: Mixolidia b9b13 (escala y arpegio) e
10
Repite este ejercicio en todas las tonalidades a través del círculo de quintas.
En la siguiente página encontrarás un esquema ordenado de las diferentes escalas y arpegios.
( Memoriza bien el patrón para poderlo repetir en las diferentes tonalidades )
C7[áÆ]
                                             

C7[áÆ]
     
                   









38



e {6``.` C` } BLUES MAYOR: Pentatonica de cada acorde e
LECCION 6
03
Ejercicio sobre los acordes del blues mayor, modulando de forma cromática ascendente.
( Intenta memorizar el patrón y tocar el ejercicio sin mirar el papel )

C 
C7 3
F7 3





pent. mayor
i7
F7 3
   


 
  


pent. mayor 3
D-7 3
pent. menor
D¨7
pent. mayor
v7
  




 
 
D¨         
3
3
G¨7 3
     





  
3
3
E¨-7 3
D7
G7 3
     



 
3
D7 3
3





  
  
3
3
3
A¨7
3
  



 
 
E¨       
3
A¨7
     




  
3
3
F-7 3
   





3
3
3
3

3








 
  
3
B¨7
   



3
3








 
  
E¨7 3

 
3
E¨7 3
3
E¨7 3
3








 
  
3

 


 



3
3





  
  


3





  
  
3
   




3
60


 
D7 3
D7 3
A7
   



E¨7
3







  
   


3
3




3







 

  
3







 

  



D¨7 3
3
3
E-7 3
pent. mayor
  


 
   




3
3




  
   
G7 3
3
3
C7 3
D¨7 3
3
3
3




   pent. mayor   
3
3
    




3
D

A¨7
 
  





C7 3
D¨7 3

 


pent. mayor
i7
i7
G¨7 3
3
3
i7
3  


  
   



ii-7

G7 3
3
3 

 

pent. mayor
iv7
3
iv7
C7 3
3  



3







 


 

 


e {8.``D` } II - V - I Menor: Escalas (locria/alterada/m. natural) e
04
Ejercicio sobre la progresión II - V - I modulando una 2ª mayor descendente, de forma que el
(I-) 1er grado (menor) se convierte en (IIØ) 2º grado (semidisminuido) de la nueva tonalidad.
G7alt
DØ
 
         
3
  CØ

     
3


locria
   
B¨Ø
    
    
 

3
G©Ø
  
 3
  
  
F©Ø
   
  
 

3
EØ
  
   


3
D©Ø
  

3
 C©Ø
 

3




  
   
   
 
BØ 3
   
   

AØ
   
   

3
GØ


LECCION 8
    
  
3
FØ
       
  
 3
C-7
    
     
3

 

B¨-7
    
  
 


 

E¨7alt
    
    

3
A¨-7
   
      
 


 

C©7alt
  
   

3
F©-7
    
    
 

 

B7alt
3
   
  

A7alt
   
   

E-7
   
   

3

 


 


 


 



 



 



 

  
    
3
F7alt
   
3
alterada
menor natural
    

3
G©7alt
   
   

3
F©7alt
   
    
3
3
3
3
D-7
  
   
 
3
3
A-7
   
   

D7alt
  

     
G-7
   
   

    
F-7
   
   

C7alt
3
   

B¨7alt
3





    
 
E¨-7
     
3

C©-7
   
     
 
3
B-7
   
   
 
E7alt
   
   
3
3

3
3
3
    
 

    


83
e {1``0` .` E` } BLUES MENOR: Escalas (dorica/alterada/locria) e
LECCION 10
Ejercicio sobre los acordes del blues menor modulando de forma cromática descendente.
( Intenta memorizar el patrón y tocar el ejercicio sin mirar el papel )
05
C-7
 
    
      
C 

i-7
F-7
dorica

  
    
  
iv-7
dorica

C7alt
   
             
alterada
i7alt
C-7
    
  
i-7
dorica

  
G7alt
C-7


    


    

      
   
alterada
i-7


DØ
iiØ
B
locria
E-7
 
 
dorica
v7alt
B-7
    
  

 
 
B7alt




 


   
  



B-7
 
C©Ø
F©7alt
  
   



   



B¨-7

  
    
B¨
   

E¨-7

   
   
   
A
A-7
   
   
D-7
 





BØ
   
   
104

  



 

  

 
B-7
  
    
















B¨7alt
   
   
     
       


B¨-7
  


  

B¨-7
F7alt

   
   
    
   
CØ
     
   


 




A7alt
   
   
   









A-7
 
E7alt
   





 




A-7
   
   






Descargar