This shouldn't come as much of a surprise considering the 3rd basically decides whether any chord will have a minor or major sound. Can you guess the most used? It's the third. I took a short inventory of which chord tones Powell resolves to on beats 1 and 3 throughout the entire transcription. Resolution choices (Entire Transcription)

All 'bop' players do this! Especially over iii-VI-ii-V and ii-V progressions. One of the most effective ways to resolve is by leading a whole step or half step away from your target note. Check out how Powell leads up to resolutions on beats 1 and 3. By playing chord tones on these beats you can improvise much stronger melodies and provide a better harmonic grounding for the listener. The strongest beats of a measure (in 4/4 time) are always going to be 1 and 3, with beat 1 as the strongest beat. Resolution to chord tones on the 'strong beats' (Entire Transcription) Some modern masters of this technique are Brad Mehldau and Keith Jarrett. Developing a single idea throughout an entire solo is a great way to become a better improvisor. In each, he keeps the rhythm and shape of the line but switches his note choice to fit the harmony of the tune. Powell starts of with a rhythmic idea in m.m. When combined with proper resolution on downbeats, this method can be very effective for bop playing.

The first is an arpeggio, second is a chromatic fragment, and third is a scale fragment. 9 there are three groups of sixteenth notes. Hopefully these will help you when trying to incorporate aspects of the transcription in to your own playing.Įxamine how Powell connects arpeggios, chromatic fragments, and scale fragments in these segments. I will try to include three or four interesting insights I have taken from the transcriptions I will be posting here.

Bud powell transcriptions