{"id":829,"date":"2017-03-20T15:08:30","date_gmt":"2017-03-20T19:08:30","guid":{"rendered":"http:\/\/blog.uvm.edu\/tgcleary\/?p=829"},"modified":"2017-03-20T23:24:43","modified_gmt":"2017-03-21T03:24:43","slug":"harmonic-moss-part-3-route-37-a-voicing-based-melodic-line","status":"publish","type":"post","link":"https:\/\/blog.uvm.edu\/tgcleary\/2017\/03\/20\/harmonic-moss-part-3-route-37-a-voicing-based-melodic-line\/","title":{"rendered":"Harmonic Moss, Part 3: Route 37, a voicing-based melodic line"},"content":{"rendered":"<p>This melody line\u00a0 combines patterns from the posts on one-bar ii-V progressions (&#8216;<a href=\"http:\/\/blog.uvm.edu\/tgcleary\/2016\/08\/25\/root-systems-part-3-give-it-up-for-the-root-position-patterns-melodic-patterns-based-on-root-position-voicings\/\">Give it up for the root (position pattern)s<\/a>&#8216; and &#8216;<a href=\"http:\/\/blog.uvm.edu\/tgcleary\/2014\/05\/03\/midnight-donnas-turnaround-in-paris-a-mini-bop-licktionary-for-the-one-bar-ii-v\/\">Midnight Donna and Reets in Paris<\/a>&#8216;)\u00a0 and with those introduced in the posts on longer ii-V-I patterns (Harmonic Moss Parts <a href=\"http:\/\/blog.uvm.edu\/tgcleary\/2016\/11\/26\/the-a-form-ii-v-i-voicing-chord-voicing-scale-outline-and-a-related-melodic-pattern\/\">1<\/a> and <a href=\"http:\/\/blog.uvm.edu\/tgcleary\/2016\/11\/26\/the-b-form-voicing-of-the-major-ii-v-i-chord-voicing-scale-outline-and-a-related-melodic-pattern\/\">2<\/a> and <a href=\"http:\/\/blog.uvm.edu\/tgcleary\/2014\/03\/22\/six-degrees-of-bud-powell-part-ii-v-i\/\">Six Degrees of Bud Powell, part ii-V-I<\/a>).\u00a0\u00a0 The written left-hand comping models the concept of creating a conversational approach to a two-chord progression by using left hand voicings as &#8216;bookends&#8217; for an intervening right hand phrase, as well as the concept of using rhythmic placement of chords to accent melodic anticipations (i.e.places where the melodic line lands on the next change a half beat or more before the appearance of the chord symbol and\/0r the arrival of the change in a quarter note bassline, a very common occurrence in a bop line.) \u00a0 A rough recording of the tune can be heard <a href=\"http:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-large wp-image-831\" src=\"http:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line-791x1024.jpg\" alt=\"\" width=\"640\" height=\"829\" srcset=\"https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line-791x1024.jpg 791w, https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line-232x300.jpg 232w, https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line-768x994.jpg 768w, https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line.jpg 1275w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><a href=\"http:\/\/www.uvm.edu\/~tgcleary\/01%20originals\/route%2037.mp3\" target=\"_blank\">here<\/a>.<a href=\"http:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line-p2-aa-e1490035936525.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-large wp-image-834\" src=\"http:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line-p2-aa-e1490035936525-1024x739.jpg\" alt=\"\" width=\"640\" height=\"462\" srcset=\"https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line-p2-aa-e1490035936525-1024x739.jpg 1024w, https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line-p2-aa-e1490035936525-300x216.jpg 300w, https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line-p2-aa-e1490035936525-768x554.jpg 768w, https:\/\/blog.uvm.edu\/tgcleary\/files\/2017\/03\/satin-doll-line-p2-aa-e1490035936525.jpg 1241w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This melody line\u00a0 combines patterns from the posts on one-bar ii-V progressions (&#8216;Give it up for the root (position pattern)s&#8216; and &#8216;Midnight Donna and Reets in Paris&#8216;)\u00a0 and with those introduced in the posts on longer ii-V-I patterns (Harmonic Moss &hellip; <a href=\"https:\/\/blog.uvm.edu\/tgcleary\/2017\/03\/20\/harmonic-moss-part-3-route-37-a-voicing-based-melodic-line\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":865,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-829","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts\/829","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/users\/865"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/comments?post=829"}],"version-history":[{"count":6,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts\/829\/revisions"}],"predecessor-version":[{"id":850,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/posts\/829\/revisions\/850"}],"wp:attachment":[{"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/media?parent=829"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/categories?post=829"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uvm.edu\/tgcleary\/wp-json\/wp\/v2\/tags?post=829"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}