Understanding the AABA Form Tune

Overview
"So Leaping In" is an example of an AABA form tune, which is 32 bars long.

A Section Chords

• The A sections are:
  • 1
  • 6
  • 2
  • 5

B Section (Bridge)

• The B section, or bridge, is known as a Cycle of Dominant Seventh.
• It begins on the following chords:
  • E
  • A
  • D
  • G
• It's called a cycle because the roots of these chords ascend in fourths. The last chord, G7, serves as the five of the key, leading you back to the final A section.

Commonality and Improvisation

• This form is quite prevalent, and this specific type of bridge with the dominant seventh cycle appears in numerous tunes, including "Rhythm Changes."

Basic Improvisation Method

• When improvising over these chords, the simplest and most foolproof method is to use the notes of the chord, which means utilizing arpeggios or broken chords.
• For instance:
  • Play root position arpeggios in every other bar.

However, keep in mind that this approach creates a practice pattern and doesn't sound like a true solo. It merely refreshes your memory of the arpeggios. The left hand can descend in semitones, providing a more dynamic way to play that dominant seventh cycle.

Creating Connection Between Chords

• It's crucial to avoid predictability and foster a connection between chords. You should vary:
  • Articulation
  • Rhythm
  • Direction of phrases

Example Variations:

• E7: Play it with variation.
• A7: Change it up.
• D7: Incorporate these broken chord patterns into your practice.

Enhancing Ear and Voice Connection

• To internalize the arpeggio notes, start by singing them.
• For instance, for A7, get the sound of the root position arpeggio in your head and sing it.
• Make up a small phrase using those notes, singing it first to build a connection between what you hear and what you play.

Exploring Inversions

• Attempt various arpeggio inversions:
  • First inversion: "doo da doo da da da da da da da da"
  • Second inversion: "dooba, doo da"
  • Third inversion: "seventh on the bottom"
    • Try it down low: "do da do da, doo da da da da"

Note:
Don't worry about the quality of your intonation or singing voice. This exercise aims to enable you to play ideas you hear on the keyboard, similar to the "sing and play" tracks from the first part of this course.

Creating Fluidity Across Bar Lines

• Now, let's connect what you hear and play, as well as transitioning between chords.
• Until now, ideas have been played strictly within the bars of each chord.

New Approach:

• Start playing phrases across bar lines.
  • Example: E to A
    • Start a phrase on the second bar of E, and finish on the first bar of A.
  • Example: D to G
    • Connect them similarly.

This approach will create a more organic sound and make your playing much less predictable and more pleasant to listen to.