03 Notes of Departure

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©2011 Barry Liesch & John Browning ch 3 A Starting Place—Notes of Departure 1

Chapter 3

A Starting Place—Notes of Departure

• 16 pages• 38 examples

In the preceding chapter we examined ways a melody note can be approached improvisationally using ornaments that lead to the melody note. Now we'll focus on

notes of departure, ornaments that lead away from the melody note.

Two broad classifications of departure notes exist: (1) notes that apply to one melodynote; and, (2) notes that fill the space between two melody notes. We'll explore the first

type now, and the second type in a later chapter.

OUTLINE REPERTOIRE

One Note of Departure In His Time

Two Notes of Departure Every Move I Make

Three Notes of Departure O Come, All Ye Faithful

Four or more Notes of Departure America The Beautiful

The Chapter in a Nutshell I'm Gonna Live So God Can Use Me

Interface with Traditional Ornaments Blessed Assurance

One Note of Departure

If C is our melody note, a stepwise departure note (x) above or below C could occur.

Example 3.1 Stepwise Departures from Melody Note C

An important relationship exists between the one-note departure and the "escape note."The escape note is a subcategory of departure notes—it's more narrowly defined.

Example 3.2 Escape Note

x xx x & b œ œ œ œ œ œ . œ œ œ œ

DepartureDeparture

DepartureDeparture

ESC

x

ESC

x

ESC

x

ESC

x [& l ! l !www_ œ . œj œ œj œ œ_j œ_. œ_ œ œ œ œ




Above, the first note in each case is the melody note and it belongs to a C major chord.

The escape note is preceded and followed by a chord tone.

In traditional theory an escape note is a nonchord note approached by step and resolved by leap (usually) in the opposite direction. Now look below.

Example 3.3 Escape Note ( Refiner's Fire)

The same situation obtains. The F# is an escape tone—a particular sub-type of the

departure category. Let's look at two more instances.

Example 3.4 Escape Note ( In His Time)

The first escape tone above satisfies the escape definition totally. The second one (which

we consider an escape note too) has the escape feeling, but is irregular in having noresolution. The departure concept, however, is much broader. It includes departures that

can leap.

Example 3.5 Departure Leaping from B

x x & ## # # œ œ œ œ . œ

x

Original

ESC

E A

Re - f i n -er 's f i r e

Departure

B E A

my heart's one de-s ire

B l l& # # # # c l l !ll

l l&

# # # # c l l

!

˙ œ œ œ

œ . œj œ œ œ

˙ . Œ

˙ . Œœ œ œ œ œ œ

œ œ œ œ œ œ

˙ .

˙ .

ESCESC

Original E

In His

Departure

x

7mF#

time,

7B

in His

Departure

x

E

time l l& # # # # c l l l !ll l& # # # # c l l l !

œ œ

œ œ œw

w

œ Œ œ œ

œ œ Œ œ œ

w

w

˙

˙




Example 3.6 Departures that Leap ( In His Time)

Curved Shapes. Curved shapes can be stepwise or leap as well. Let's look at the

stepwise curves first.

Example 3.7 Departing Stepwise Curve (God is So Good)

Now some gapped departures. The gapped departures (A-C and F-A) below belong to

A minor and F major chords respectively. And for singers and instrumentalists, this issuch an easy, natural adornment to execute—let your ear be your guide. Instinctively, the

improviser will likely leap to a chord tone.

Example 3.8 Gapped Departure (Morning has Broken)

E

In His

7mF#

time,

Departure

7B

in His

E

time

Departure

7mC# l l& # # # # c

l l lll l& # # # # c l l lœ œœ œ w. œ œ œ Œ

œ œœ Œ œ œ w. œ œ œœ

Original

God i s so

F

Curved Departure

I

good

mG

ii

God i s so

F

Curved Departure

ESC

I

good

mG

ii l l& b c

llll & b c

l l? b c ! l !

˙ œ œ

œ . œj œ œ œwww_

w

wwww_

˙ œ œ

œ . œj œ œ œ œwww_

w

wwww_

OriginalC

Morn-ing has

mA mD G

bro - ken like the first

Gapped

Departure

Chord Tones

F C

morn - ing

Chord Tones

Gapped

Departure

l l& 94 l !ll l& 94 l !

œ_ œ œœ_ œ œ

˙ . ˙ . œ œ œ˙ œ œ ˙ . œ œ œ ˙ . ˙ .˙ œ œ ˙ .




The gapped departure can be a larger interval too—a sixth for instance.

Example 3.9 Gapped Departure (Holy Holy Holy)

Two Notes of Departure

As previously, for two departing ornamental notes, the movement can be up or down,

stepwise or gapped.

Example 3.10 Two Stepwise Departures Moving Away from C

Example 3.11 Stepwise Departure ( Jesus Paid it All)

Example 3.12 Gapped Departure Moving Away from C

x x x xx x x

x

!

& b ! ! !

œ œ œ œ . œ œ œ œ œ œ œ . œ œ

OriginalC

Ho - ly , ho - ly ,

Gapped

Departure

Chord

Tone

ho - l y !

F

Lord God A l -

Gapped

Departure

Chord

Tone

C

mi ght - y! l& c l l !l& c l l !

œ_ œ_ œ œ

œ_ œ_ œ œ œ_

˙ ˙

˙ ˙

˙ œ œ˙ œ œ_ œ

˙ ˙

˙ ˙

Original C

Je - sus paid it

F

all,

Stepwise Departure

x x x

C

All to Him I

G

owe

Stepwise Departurex x

l l& 34 l l ! ll l& 34 l l !

œ . œj œ œœ . œj œ œ

˙ .œ . œJ œ œ

œ . œj œ œœ . œj œ œ

˙ .œ œ . œ œ

x x x x x x !

& b ! !œ œ œ œ . œ œ œ œ œ




Example 3.13 Gapped Departure (In His Time)

Gapped departures can resemble arpeggiated fills (e.g., G-F-D is part of the Gm7 chord),

but differ in that they don't link two melody notes together.

Departures usually consist of two or more notes moving by step or leap in the samedirection. The shape is enlarged in a more or less straight line (like its mirror image, the

approach).

"Zigzag" departures can create nice effects too (see "x" for the bent note).

Example 3.14 Zigzag (Hooked) Departure Moving Away from C

In the above ornaments, the sense of an ascending or descending direction between thefirst and last notes is preserved: the inner note forms the angle of deflection.

Example 3.15 Zigzag Departure ( In His Time)

Let's look at encircling pairs departing from the melody note.

x

x

x

x

x l& b l l l ! œ œ œ œJ œ# œj œ œ_b œ œ œ œ œJ œ œJ

Original F

In His

7mG

time,

Zigzag Departure

7C

in His

F

time

Zigzag Departure

l l& b c l l l !ll l& b c l l l !

œ œ

œ œw

˙ . œ œ œ#£

œ Œ œ œ

œ Œ œ œw

˙ . œ œ œ£˙œ

F

In His

7mG

Gapped Departure

time

7C

in His

F

Gapped Departure

time & b 4

4 œ œ

œ œ ˙ . œ Œ

œ œ œ œ œ_ _. œ_




Example 3.16 Encircling (Good is So Good)

Three Notes of Departure.

For three departing ornamental notes, the movement can be up or down, stepwise or

gapped.

Example 3.17 Three-Note Stepwise Departure from C

Example 3.18 Three-Note Ascending Departure (Father I Adore You)

Example 3.19 Three-Note Descending Departure (Father I Adore You)

Example 3.20 Descending Departure (Silent Night)

The departures above are particularlyeffective because the larger pattern

of a C scale is implied (B to middle C).

x x x x

x x !& b !œ œ œ œ œ œ œ œ

& œ œ œ œ œ œ œ_

C Encircling

God i s so

mD

good

C Encircling

God i s so

mD

good l& 44 !

lœ_. œ œ_ œ_ œ w œ_. œ__ œ œ_ œ w

Departure.......Departure7mD

All is

7G

calm

C

all is bright l& 34 l l !˙ œ ˙ œ œ œ ˙ œ œ œ œ œ œ œ_

OriginalDeparture

Je - sus I a - dore You

F 7mG

Je - sus I a - dore You l& b c! l !˙ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ ˙ ˙

Original Departure

Je - sus I a - dore You

F 7mG

Jes - us I a - dore You l& b c ! l !˙ œ œ œ ˙ ˙ œ œ œ œ œ_ œ œ œ ˙ ˙




Let's move on to gapped and zigzag departures.

Example 3.21 Three-Note Gapped Departure from C

Example 3.22 Three-Note Zigzag Departure from C

Notice, the departures do not return to the melody note from which they spring to form anenclosed figure.

Example 3.23 Three-Note Zigzag Departure (In His Time)

Now let's look at some encircling shapes —see the "x" surrounding the melody note.

Example 3.24 Three-Note Encircling Shape Departing from C

The notes G and E (a step above and below the melody note) are called "changing notes"

in traditional theory. The encirclings in both examples are closed because they return tothe melody note.

Below, we turn to curved shapes.

!

& b ! ! ! !œ œ œ œ

£œ œ œ œ œ . œ œ . œ_ œ œ œ œ œ œ œ œ œ_

! & b

! !œ œ œ œ£

œ œ œ œJ œ . œ œ œ£ œ œ œ œ

In His

Zigzag Departure

time In His

Zigzag Departure

time l l& b 44 l ! l l !l

ll

l

ll? b 44

l

ll

!!

!

l

ll

l

ll

!!

!

œ œ

∑

˙_... œ œ_#

ww

˙_

˙

œ œ

∑

˙_n œœœ_j œœœ_ œ_ œ_#

˙ œœj œœ ..b

˙_3

˙

F Closed Encirling

Changing Notes

x x

In His

7mG

time

7C F

In His

7mG

Closed Encircling

x xtime

7C l& b 44

l!

l l!

œ œ

œ œ œ w œ

œ œ ˙ œ

œ œ£

œ




Example 3.25 Three-Note Stepwise Curves Departing from C

Four or More Notes of Departure

For four or more departing ornamental notes, the movement can be up or down, stepwise

or gapped. Always consider the contours and placement of your ornaments, whether simple or complex.

Let's look at a variety of curves. Remember, curves return to (enclose) the melody note.

Example 3.26 Curved Shapes (In His Time)

In measures 1 and 2, the curve could also be called (in traditional theory) a lower and upper neighbor, respectively.

Example 3.27 Curves Rising, Falling, & Returning to the Melody Note (In His Time)

Now, several extended encirclings surround the melody note.

! & b

!œ œ œ œ£ œ œ œ œ> & b ! ! !œ œ œ œ£ œ œ œ œ£ œ . œ œ œ . œJ œ œ œ

Original F

In His

mG

time

7C F

In His

Curve............7mG

time

7C F

In His

7mGCurve.........

time

9C l& b 44 l ! l l ! l l !œ œ w œ œ œ œ . œjœ œ œ£ œ œ œ œ ˙ œ œ œ

Original

UN

F

In His

7mG

time,

LN

Curved

x

7C

in His

Curved

x

F

time

Curved........

x x x

l & b c l l l !

lll & b c l l l !

œ œ

œ œ

w

œ œ ˙ .

œ Œ œ œ

œ Œ œ œ œ œ£

w

˙ . œ œ œ œ

˙

˙




Example 3.28 Closed and Open Extended Encirclings Departing from C

Closed encirclings return to the melody note—open ones don't.

Example 3.29 Closed Extended Encirclings (In His Time)

Example 3.30 Closed and Open Extended Encirclings (In His Time)

Notice the second example immediately above. The encircling shape does not return to

the melody note (G): therefore it is open.

The extended departures below are more linear.

Example 3.31 Zigzagging Departure from Melody Note (In His Time)

Closed Open Closed Open Closed

!

&

b! ! ! !

œ œ œ œ ˙ œJ œ œJ œ œ œ œ œ ˙ œ œ œ œ . œJ œ œn œ ˙£

Closed Encircling.............Closed Encircling.................F

In His

7mG

time

7C F

In His

7mG

time

7C l& b l ! l l !œ œ œ œ# œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ£

œ

In His

Closed Encircling

time In His

Open Encircling..........

time l l& b 44 l ! l l !ll ll? b

44

ll !!

ll ll !!

œ œ

∑

˙_ œœœ_n œ œ£

˙˙ ˙

˙b

˙_3

˙˙

œ œ

∑

œœœ_...n œj œj_b œj œ œj

˙˙ ˙

˙b

˙_3

˙˙

Extended Departure....................Extended Departure....

F

In His

7mG

time

7C F

In His

7mG

time

7C l& b l ! l l !œ œ œ . œjœ . œj œjœ ‰ œ œ œ œ œ œ œ_ œ œ_ œ__ œ__£ œ_




Improvise!

Create departing ornamentations. Sing or play, creating one, two, or three-or-more-note

elaborations. Many opportunities exist, but don't feel you have to fill every space!

Don’t forget to integrate rhythmic delays and anticipations. Suggestion: take each phraseseparately at first, and then improvise through the entire piece as tastefully as possible.

Example 3.32 Improvise! In His Time (3.32c Introduction: 0:00-23)

God is So Good is another piece that works beautifully when seeking opportunities to

ornament after the melody note. Let's improvise with a piece in a faster tempo.

D

In His

In Your

7mE

Create?...................

time,

time,

A

in His

in Your

D

Create?....................

time,

time,

7mB

He makes

You make l& # # c l l l lœ œ w œ Œ œ_ œ w œ Œ œ œ

7mE

Create?...............................

all thing beau - ti -

all things beau - ti -

AG

ful in His

ful in Your

D

Create?.....................

time.

time.

DC

Lord please

Lord my l& # # l l lœ ˙ œ œ ˙ œ œ w œ Œ œ œ

7maG

show me ev - 'ry

life to you I

7A

Create?........

day, as you're

bring, may each

7mF#

teach - ing me your

song I have to l& # # l lœ œ œ . œj ˙ Œ œ œ œ œ œ . œj

7mB

Create?............

way, that you

sing, be to

7mE

do just what you

You a love - ly

7A AG

say in your

thing in Your

D

time.

time. l& #

# l l !˙ Œ œ œ œ œ œ . œj _ œ œ w




Example 3.34 Improvise! Every Move I Make

Notice all the repeated notes in this piece? Where the long whole notes occur on the

second line, create melodic ornamentation after the initial G ("Ev'ry move"). This pieceis more difficult to improvise with than the others.

Example 3.34 Improvise! O Come All Ye Faithful

Original G

Ev - 'ry move I

Ev - 'ry step I

2C

make I make in

take I take in

susD

You You make me

You; You are my

2C

move, Je- sus

way, Je -sus l {“ l& # c l l lll {“ l& # c l l l

œ œ œ œ

w

œ œ œ œ

w

œ Œ œj œ œj

œ Œ œj œ œj

œj œ . œ œ

œj œ . œ œG

Ev - 'ry breath I

Ev - 'ry breath I

2C

take, I breathe in

take, I breathe in

2D

You

You

C l& # l l {”

l& # l l {”

œ œ œ œ

w

œ œ œ œ

˙ œ œ

œ œ Ó

œ œ Ó

∑

∑

O

G D

come, let us a -

he a -lone is

give him all the

G

dore him, O

wor - thy, for

glo - ry, we'll

C

come, let us a -

he a -lone is

give him all the

G D G

dore him, O

wor - thy, for

glo - ry, we'll !& # c l l l lœ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ

1 21 21 21 21 2C mA

come, let us a -

he a - lone is

give him all the

D C

dore him,

wor - thy

glo - ry

G D

Christ, the

Christ, the

Christ, the

G

Lord. For

Lord. We'll

G

Lord. l& #

l l l !œ œ œ œ ˙ œ

œ ˙ œ . œj ˙ . œ w




Example 3.35 Improvise! America, the Beautiful

Example 3.36 Improvise! I'm Gonna Live So God Can Use Me

This tune is very similar to Will the Circle Be Unbroken.

O

B

beau - ti - ful for

F#

spa - cious skies, For

mC# F#

am - ber waves of l&

# # # # # c l l lœ œ . œj œ œ œ . œ_j œ_ œ œ œ

œ œ

B

grain, For pur - ple moun-tain

F#

maj - es -ties A -

C#G# 7C #

bove the fruit - ed l& # # # # # l l l˙ . œ œ . œj œ œ œ . œ_j œ_ œ œ# œ œ œ

F# plain! A -

B

mer - i - ca! A -

7mC # F#mer - i -ca! God

7F#shed His grace on l& # # # # # l l l˙ . œ œ . œJ œ œ œ . œj œ œ œ œ œ œ

B

thee, And

E

crown thy good with

B

broth - er-hoodFrom

mC# 7F#

sea to shin-ing

B

sea! l& # # # # # l l l !˙ . œ œ . œj œ œ œ . œj œ œ œ œ œ œ ˙ .

Intro q = 111

(Country)

7B E E EA E E EA

l&

# # # # 44 l l

œJ œ œ œ œ ˙ œ œ œ _ œ_ œ__

E mC# mF# 7B E A G#E )4

7(mF# E A G#E )47(mF#

I'm gon - na

I'm gon - na l& # # # # l lœ_ œ œ œ œ w ˙ ‰ œ_j œ_ œ_




A vs.1,2E 7B

live so God can

pray so God can

E 7E

use me an-y

use me an-y

A

time, Lord, and an -y

time, Lord, and an -y

E 7B

where I'm gon-na

where I'm gon-na { l& # # # # l l lœ ˙ œ œ œ œ . ‰ œ œ œ œ ‰ œj œ œ_ _ ‰ œ_j œ_ œ_

E

live so God can

pray so God can

E mC#

use me an - y

use me an - y

BE 7B

time and an - y

time and an - y l& # # # # l lœ ˙ œ œ œ œ . ‰ œ œ ˙ ‰ œj œ œ

1 21 21 21 2

{PNO FILL}

E A G

#E

)4

7

(mF

#where

E A G

#E

)4

7

(mF

#I'm gon-na

E

where

7C

I'm gon-na l& # # # # {” l {” b w ˙ ‰ œ_j œ_ œ_ w ˙ ‰ œ_jn œ_ œn

B vs.3,4F

7C

work so God cansing so God can

F 7F

use me an - yuse me an - y

Bb

time and an - ytime and an - y {“ l&

b l lœ ˙

œ œ œ

œ . ‰ œ œ œ

˙ ‰ œ œ

F 7C

where I'm gon - na

where I'm gon - na

F

work so God can

sing so God can

F mD

use me an - y

use me an - y l& b l_ ‰ œ_j œ_ œ œ ˙ œ œ œ œ . ‰ œ œ

12

12

12

12

12

{GTR FILL}

DRS OFF!

Rit................

CF 7C

time andan-y

F 7C

where I'm gon-na

CF 7C

time andan-y

Bbwhere

F l& b {” l l / ˙ ‰ œj œ œ ˙ ‰ œ_j œ_ œ ˙ ‰ œj œ œ w w




Example 3.37 Improvise! Blessed Assurance

All of our improvisation pieces in this chapter— I Exalt Thee, Jesus Your Name, In His

Time, Every Move I Make, America the Beautiful, We Worship and Adore You, O Come

All Ye Faithful —will serve as templates for practicing either approach or departure

ornaments.

D

Bless -ed as -

Per - fect sub -

G

sur - ance Je - sus is

mis - sion all is at

D

mine O what a

rest, I in my l&

# # 98 l lœ œ œ

œ . œ . œ

œ œ œ . œ . œ œ

œ

A E

fore - taste of glo - ry di -

Sav - ior am hap -py and

A sus7A

vine! Heir of sal -

blest; Watch-ing and

D G

va - tion, pur-chase of

wait - ing, look-ing a - l& # # l lœ . œ œJ œ œ œ# œ . œ . œ œ œ œ . œ . œ œ œ

D

God, Born of His

bove, Filled with His

mE A

Spir - it, washed in His

good - ness, lost in His

D

blood.

love. l& # # !œ . œ . œ œ œ œ . œ . œ œ œ_ œ . œ .

Refrain D

This is my

G

sto - ry, this is my

D

song, Prais -ing my & ## l lœ œ œ œ . œ . œ œ œ œ . œ . œ œ œ

mB 7E

Sav - ior all the day

A 7A

long; This is my

D G

sto - ry, this is my l& # # l lœ . œ . œ œ œ œ . œ . œ œ œ œ . œ . œ œ œ

D

song, Prais -ing my

mE sus7A

Sav - ior all the day

D

long. l&## l !œ . œ . œ œ œ œ . œ . œ œ œ_ œ . œ .




The Chapter in a Nutshell

The vocabulary we've shared with you provides a broader structure—a broader umbrella

of concepts—in which to think about improvisation than traditional theory. Let's reviewit briefly.

Melodic ornaments may be grouped into notes of approach and departure.

Ornaments may be further divided into (1) curves and (2) encirclings, and (3) zigzag

shapes.

Ornaments can be more finely subdivided into (1) stepwise, and (2) gapped types.

Interface with Traditional Ornaments & Harmony

How do our expanded concepts interface with traditional ornaments and harmony? Let'sthink about this for a moment. Traditional ornaments such as escape notes, neighbors,appoggiaturas, turns, cambiatas, and so on, are defined not only by rhythmic placement

and motion, but also by their harmonic identity—that is, their consonant or dissonantrelationship with their host melody note and their underlying harmony. For instance,

dissonances are expected to resolve in various ways.

Our concepts have a more flexible application—one better suited to improvisation—inthat they greatly diminish the traditional rules of consonant and dissonant resolution.

Besides, many of these rules no longer apply consistently in modern music practice.However, the traditional ornaments, if and when they do apply, are in easy conformity

within the new vocabulary used here.

Our terms describe the shapes formed by the intersection of ornamented added notes and their host melody notes. Two chief factors are at play: (1) rhythmic placement, and (2)

direction. The emphasis on using linear shape as an a priori creative tool simplifies, broadens, and frees the ornamental and constructive facets of improvisation.

However, when improvising, we need to understand or at least "hear" the underlying

harmonic structures. Use shapes as your creative starting point, then ornament, re-build,and overlay melodic ideas over these harmonies.

To fix in our minds the interface with traditional ornaments, let's review it just one more

time. Especially keep your eye on the "x" symbol below.




O = Melody Note X = Ornament

Example 3.38

.

Incomplete Neighbor,

Escape Note =DEPARTURE

Neighbor Note

=CURVE

Unaccented

Passing Notes =DEPARTURE

Accented Passing Note

=APPROACH

Appoggiatura

=APPROACH

Changing Note

=

ENCIRCLING

o

F

x o o

F

x o o

F

x o o

mG

x x o

l& ! !œ œ œ œ œ œ œ œb œ œb œ œ œ

o x o o x o

C mG

o x x o

7C

N

F

o x x o

7C

N

mD

o x o

mD

o x o

F l& c ! l ! lœ œ œ œ œ œb œ œ œ œ£ œ œ œ œ£ œ œ œ œ œ œ

03 Notes of Departure

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Transcript of 03 Notes of Departure