partimento for guitar
partimento for guitar
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Partimento is a very deep study of bass-lines and the recipes of intervals above, but the first baby step(s) are found in what is sometimes called the "Rule of the Octave" (Regole dell'Ottava) — which can be utilized as an improvisation tool, a composition tool, an educational tool, and probably in many other ways. For example, I've been applying it as a therapeutic music tool in ICU departments and Hospice units at a local hospital.
A side note: The "Rule of the Octave" relies on mostly 3-note voicings, as opposed to 4-note part writing. So far, it feels as if the 4th note becomes a voice-leading choice (sort of like extensions in jazz harmony), more-so than a doubling rule (but still figuring this out :)
The "Rule of The Octave" is built as a “chord scale": think of the notes of a C Major scale as a bass line, and then imagine adding sets of given intervals (like a recipe for tendencies) above each note of that bass line. It gets a lot more interesting than that, but that's the basic idea. (I'll abbreviate "Rule of The Octave" as "RO" from here on out — thanks to Dr. John Mortenson.)
There are a lot of perspectives on this (I’ve been searching and listening to as many of these as I can find). I love learning about different takes on the same idea or concept — feels like it opens you up as a person, while also helping you to better understand why we think or believe as we do. If the term "holisitic" can be applied to music theory, I'm starting to believe that starts with "chord scales" :)
So, here’s my perspective on RO so far: it feels like the equivalent of learning sounds and words from your parents as an infant or toddler, before you can begin to speak on your own. As in, “Maaa da keem”, becomes “Ma do ikeem”, becomes “Mommy da ice-keem”, becomes “Mommy I want more ice cream” — from my perspective, I think this is what RO is trying to achieve.
The next steps are applying RO to music (bass-lines called Partimento, or other pieces of music). This is akin to taking English classes in Elementary School or Junior High — where you’re taking a magnifying glass to the sounds & meanings you’re familiar with, in hopes of expanding the comprehension of how language works, while also refining your overall use of language.
Also, the "chord scale" is like a single-note scale in that initially we need practice it in a specific order for comprehension and muscle memory reasons, but later we need to break it up to create or improvise something with it. Meaning: to play the melody from Twinkle Twinkle Little Star, you have to jump around the "scaffolding" of a Major scale to play that melody.
After a few years of playing around with it on piano and guitar (first piano, then adapting for guitar), it really does feel like the sounds a toddler would make in trying to communicate. As much as I’m a fan of music theory texts (that's not sarcasm, I still have all my textbooks from undergrad and grad school), I think the guided musical “baby-talk” of RO and the subsequent "wandering around a tonality" through bass motions doesn't really exist. It's discovering harmony instead of being told what it is — as in "give me a fish" versus "teach me to fish". But this is something you have to physically & aurally experience for yourself to mean anything.
I've been learning RO from a course by Dr. John Mortenson (at improvplanet.thinkific.com) and other textbooks (pictured above), and very slowly adapting this into a guitar player's toolset — so we can use it too! I've been breaking all this information up into little chunks, which allows us to express quite a lot with very little — RO is an actual living expression of “less is more”.
(the videos below are step by step — so for more of an overview, see the ones titled "Gravity" and "The Coolest Thing")
Okay, let's go...
SO, WHAT IS 'RO'?
How the "Rule of the Octave" (RO) is built from a single-note scale (to create a kind of "chord scale"), and then some examples of movement up and down RO.
C→B→C or 1→7→1
C→B→C or 1→7→1
In adapting RO for the guitar, breaking up the chord scale into smaller units feels more practical; an adapation from learning RO on the piano.
Moving from C→B→C, or 1→7→1, is like a seesaw motion to get used to these first two scale degrees, and how they complement each other.
C→B, B→C or 1→7, 7→1
C→B, B→C or 1→7, 7→1
Seesaw-ing from C→B, B→C, or 1→7, 7→1.
This stuff makes more sense when you physically do it (the cerebral analysis thing is not all that helpful at this point.)
C→D→C or 1→2→1
C→D→C or 1→2→1
Moving from C→D→C, or 1→2→1, is similar to the previous seesaw motion 1→7→1.
C→D, D→C or 1→2, 2→1
C→D, D→C or 1→2, 2→1
Moving from C→D, D→C, or 1→2, 2→1 (similar to 1→7, 7→1.)
gravity
gravity
Feeling the pull from 2→1 and 7→1, a sense of gravity towards the center of the key.
Extending 1 (or C)
Extending 1 (or C)
I found a simple way to organize 3 shapes around the 1 chords for more options. Each group of shapes needs 4 strings, so we have 3 sets of these.
shapes around 1
shapes around 1
3 shapes around the 1 chords, to a metronome.
Extending 2 (or D)
Extending 2 (or D)
3 shapes around the 2 chords for more options.
shapes around 2
shapes around 2
3 shapes around the 2 chords, to a metronome.
Extending 7 (or b)
Extending 7 (or b)
3 shapes around the 7 chords for more options.
shapes around 7
shapes around 7
3 shapes around the 7 chords, to a metronome.
Extending 1 minor (or C Minor)
Extending 1 minor (or C Minor)
3 shapes around the 1min chords.
shapes around 1 Minor
shapes around 1 Minor
3 shapes around the 1min chords, to a metronome.
The Coolest thing!
The Coolest thing!
Using 2 and 7 to tonicize anything you want :)
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