phtd'4 12 RHYTHM STUDIES - MARTIAN SQUARE DANCE 4 Play on top of the beat to keep the time @ Internalize the pulse to ensure attacks on syncopated rhythms. Roce o=fb8-L54 Gna) Guy) « a da da aa DAM Gna) > da aut OAM de ® Gina) Quy) a> DUT OAH da OUT B wo fey Guy) a du DUT a on cy) a DUT pur as ae ® Gud) Guy) ont our DAH : i) Gna) Gu) Spake -- aan OUT DUT da DUTIMPROVISATION STUDIES - MARTIAN SQUARE DANCE G Mixolydian Scale (Concert F Mixolydian) MIXOLYDIAN SCALE we LIU be dL bbb MARTIAN SQUARE DANCE is based on the mixolydian scale. The mixolydian scale has some of the same “bluesy” sound qualities as the blues scale. The mixolydian scale is a common choice when improvising over a dominant seventh chord, like G7 (Concert F7} in the solo section of MARTIAN SQUARE DANCE. Rony o=108-164 6 @re Q7 > As you play, listen to how each note of the mixolydian scale sounds with the dominant seventh groove played by the rhythm section, Do certain notes sound better with the groove than others? Do some notes lead more naturally to the next note of the scale than others? Gisten) - Guay) »IMPROVISATION STUDIES - MARTIAN SQUARE DANCE, cont. Le D These licks are derived from the G mixolydian (Concert F mixolydian} scale. (Listen L¢t ride, PLiy NO MMe) Q7 67 : > The written solo is based on the licks from IMPROVISATION STUDIES B and C. Listen to how the rests allow th breathe and flow naturally. Ia the bars notated with slashes, improvise your own solo based on the G mixclydian (Concert F mixolydian) sc new ideas or licks you know. Strive for a natural balance of notes and rests. > The D7sus (Concert C7sus} chord is used to mark the end of each eight-bar solo chorus, and lead, or turnarounMae@riaN Savage CANCE Beak o=128-154 (GON Fee SeL06 (Brewqeoonos On eu 10