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Old 10-17-2003, 10:18 PM   #12
spastic
FreeMusicNo1
 
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Join Date: Oct 2002
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For my next lesson: Improvisation.


One of the biggest questions that i get when people are asking me with theory is application of what I tell them. Sure, you know all those scales I listed, but that doesn't do you any good if you don't know how to utilize them.


When playing jazz, much of the time you will be playing over written out chord progressions. One of the most effective ways to improv over these chords is to play the scale that corresponds to each chord.


The first step is to figure out what the root note is. This is very simple: it is the note listed on the chord chart. For instance, a C13's root note is C. Simple.


As you know, a chord is Major if it contains a natural 3rd tone, and minor if it contains a b3 tone. This is the next step in deciding which scale to use for improvisation. If the chord is major, don't use a minor scale over that chord (a scale with a b3), use a major scale (a scale with a natural 3).


Next, identify its "normal" tones (the tones not used as tensions). Usually these will be the 5 and 7 tones, although a 6 tone sometimes replaces the 7th tone. Only use scales that contain the same same confiurations as these tones. After the root, 3rd, and other "normal" (does anyone know the correct erminology for these notes? I'm drawing a blank...) tones, you will have limited your selection of scales down.


EXAMPLES:

If you are playing over a (blank), you could use a (blank scale) [NOTE: I am not going to list every scale that you could use, only one example]:

C Maj7 - C Ionian

Because C Maj7 contains these tones: Root (1), 3, 5, 7. The Ionian scale contains 1, 2, 3, 4, 5, 6, 7. Since these match up, and there is no conflicting tones, this scale will sound good with this chord.

E Min7 - E Dorian

Because E Min7 contains these tones: Root (1), b3, 5, b7. The Dorian scale contains 1, 2, b3, 4, b5, 6, b7. Since these match up, and there is no conflicting tones, this scale will sound good with this chord.

A Min7 b5 - A Locrian

Because A Min7 b5 contains these tones: Root (1), b3, b5, b7. The Locrian scale contains 1, b2, b3, 4, b5, b6, b7. Since these match up, and there is no conflicting tones, this scale will sound good with this chord.

G Min (Maj7) - G Melodic Minor

Because G Min (Maj7) contains these tones: Root (1), b3, 5, 7. The Melodic Minor scale contains 1, 2, b3, 4, 5, 6, 7. Since these match up, and there is no conflicting tones, this scale will sound good with this chord. Notice that this scale is not in the Major scale. Be aware that not all the scales you will use will come from the Major scale.



Now, the next step in deciding which scale to use is figuring out the extended tones of the chords. Usually (or always? I'm not sure...) the tensions will be some type of 9, 11, or 13 tone(s). This step is almost the same as the last, except that you are figuring out the extended tones instead of "normal" tones. Simply find these tones, combine these tones with the ones you already know how to find, and find what scales have these same tones.

EXAMPLES:

If you are playing over a (blank), you could use a (blank scale) [NOTE: I am not going to list every scale that you could use, only one example]:

C Min11 - C Aeolian

Because C Min11 contains these tones: Root (1), 2 (9), b3, 4 (11), 5, b7. The Aeolian scale contains 1, 2, b3, 4, 5, 6, b7. Since these match up, and there is no conflicting tones, this scale will sound good with this chord.

D13 - D Mixolyidian

Because D13 contains these tones: Root (1), 2 (9), 3, 4 (11), 5, 6 (13), b7. The Mixolydian scale contains 1, 2, 3, 4, 5, 6, b7. Since these match up, and there is no conflicting tones, this scale will sound good with this chord.



That is one of the most effective ways to solo, and it will always sound good. The only problem is that it can sound very boring if it isn't done well. Play around with it to find what you like, and what you don't.


AIM: FreeMusicNo1 or post them here for questions.
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