GW Blog - posted on July 30, 2014 by

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GW Blog - posted on July 29, 2014 by

GW Crowd Funding – Outtake

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GW Blog - posted on July 28, 2014 by

Cuddlah 4 Life

Another new tune. You can help us finish it! Click HERE to help.

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Use Your Words - posted on July 23, 2014 by

Messaien Modes – Part 6

Part 3 of this series displays a matrix for Mode 3, with it’s various permutations, and lists some of the triads that are available through different series of stepping from note to note or skipping over one or two notes throughout the matrix. The purpose of this post is to do the same for Mode 4:

Mode 4a

Unlike Mode 3, which can be looked at as three symmetrical trichords, it’s probably best to think of Mode 4 as two symmetrical tetrachords (group of four different pitches). Each tetrachord is primarily made up of half steps (H – H – H – min 3rd), and the starting notes of each of these tetrachords are separated by the interval of a tritone (C and F# in the example above).

Through various combinations of stepping or skipping from note to note, we can build the following triads (among others). Note that Type 3, Type 4, and Type 5 offer both major and minor triads:

Mode 4-trichords

You might also notice that, due to the symmetrical nature of the mode, Types 3, 4, and 5 are identical, in terms of what trichords/triads they contain (i.e. they all contain D major, C minor, etc.).

Mode 4 is more commonly encountered than Mode 3. It’s structure is similar to the octatonic scale, and can likewise be superimposed over dominant-to-tonic situations. Michael Brecker, Donny McCaslin, and others have used this scale in the following manner. When starting the transposition above on the note D and stepping downward:

Mode 4c

Likewise, if you play the symmetrical mirror of the mode (start on Ab instead of D, then play as a descending scale), you’ll find that this same transposition of this mode also works over Ab7 to Db major.

There are also some really great extended modal sounds with this mode, some of which will be demonstrated in my next post.

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GW Blog - posted on July 21, 2014 by

Gretchen’s Wedding March

Help me make a record. Click HERE to find out how.

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GW Blog - posted on July 13, 2014 by

Be a part of Glenn White’s new record!

Help turn my four half-recorded tunes into a full blown CD! Click HERE for more info.

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GW Blog - posted on July 10, 2014 by

August 27 – GW at the Garage, NYC

August 27, 2014 at the Garage
10:30 pm – 1:30 am

with Mark Cocheo (guitar), Nitzan Gavrieli (piano), Gary Wang (bass), Chris Benham (drums)

SPECIAL GUEST: The King Sweater

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GW Blog - posted on June 18, 2014 by

July 9 – Jazz at the Shabazz 2

Shabazz2

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GW Blog - posted on May 19, 2014 by

June 11 – Jazz at the Shabazz

June11 - 2

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Use Your Words - posted on May 17, 2014 by

Messiaen Modes – Part 5

In response to John’s question about practical uses for Mode 3, I submit the following:

Although I’m generally not a fan of plugging licks, the truth of the matter is that licks are a very effective means of integrating new material. The lick below shows a practical use for Type 4 trichords from Mode 3, which contain a series of major triads.

MESSIAEN LICK1

A D dorian scale is used in measure 1 to set up the C major tonality. The descending Mode 3 trichords (Type 4) begin on the second note (and-of-1) of measure 2, down one trichord, up the next, etc., continuing through to beat 3 of the final measure.

Carrying the idea further, the licks listed below follow the exact same methodology, only they begin on the third and fifth scale degrees of the D minor 7 chord.

MESSIAEN LICK2 3.44.44 PM

MESSIAEN LICK3

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