Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
.....
Lessons 12-15 gave recommended DVD's and CD's for wise purchasing.
Lessons 16-20 gave enough information on chords to last you a full year.
Now we will return to basic instruction going along with the book again.
In Lesson 9, we studied some basic scale patterns that can be used for
playing along with the first few tracks on the CD. These patterns aren't
exactly "licks" and should simply be thought of as patterns that will help
you get used to the scales, and offer a starting point for improvization.
The basic patterns and some helpful tips for practice are given on pages
9-19, but we have just used the first seven patterns so far (pages 9-13).
Now it's time to go ahead and look at the rest of the patterns (20 in all),
so review pages 9-13 now, then continue reading all the way to page 19.
When you're finished with the reading, turn back to page 78 in the book,
and you will remember that all the suggested patterns are written out in
the key of Bb here, for trumpeters to use with track 2. You can play the
patterns with track 2 by simply reading them all right off the page!
Some super organized people will have the urge to systematically learn
all 20 patterns, in every possible key and mode there is before going on.
There is no need for this. I would probably only play paterns 3, 7, 11, 12,
13, 19 and 20, and only over the minor scales given on pages 78 thru 82.
This will give you a great start without repeating alot of material in whole
notes, half notes, and quarter notes, etc. You should go ahead and mark
those recommended patterns on pages 78-82, and then you're all set.
You can practice these patterns away from the CD, or along with it. Try to
vary the rhythms a bit, which will bring you a little closer to improvization
already. When playing them along with the tracks, you should not feel that
you must play them exactly as written. Remember they are a springboard
to launch improvization from. If you feel inspired to experiment, go ahead
and have some fun. Experimentation is exactly what you need.
Experiment all the time, but take it slowly... always trying to prehear each
idea in your mind. Do not just play a bunch of random notes. If all you can
hear is just a note or two, then that's what you should play... Later you will
hear 3 or 4 notes, and then more. You crawl, then you walk, then you run!!
Do experiment by improvizing without the CD tracks too. Trying to keep up
with the count, and the chord changes can hamper the creative process.
You can improvize some on all 12 major scales as you're working on them.
Spend the most time with the "newer, harder ones". Do improvize a little on
every scale as you practice it. This will help you to learn them even faster.
Be sure to practice your seven minor (dorian) scales this way too, as well
as your four minor blues scales. You will find those scales are just begging
to be played. Don't worry about these scale patterns too much, they're just
there to help get you started...
likely want to listen to the track a bit first, then play along.
You could try just playing the first five tones under each chord symbol as
eighth notes to get you rolling... then, gradually begin improvizing freely,
bravely, without the slightest sadness that you miss some notes now and
then. Keep it simple, simple, SIMPLE, but don't worry about mistakes!!
Experiment... and make lots of mistakes! Who cares? It's your first time...
Stop occasionally just to listen. Hum, and count measures. Begin to feel the
chord changes just like you did on the earlier tracks, then play some more.
It'll feel a bit awkward at first! How could it be any other way? But it DOES
get better and better, day by day, week by week... until it's so easy you'll
look back and wonder how it ever felt so odd at first!! HAVE FUN!
get a chance.
If the truth were told, too many "pros" are simply plugging in licks all over
the place, and not really creating music, not really making any art. Too many
sound like computers with all their licks, and some just seem to be trying to
play as many notes as possible. That's not art, and not what jazz is supposed
to be. We will learn many licks in the future, but we will only use them when
we hear them as part of a melodic developement, not just because we "know
they will fit" with certain chords. Hope that all makes sense... sermon over.
Ooops... just one more semonette. If anyone ever asks you who are some
of the most influential people in jazz today, when you tell them about artists
such as Wynton Marsalis, or Arturo Sandoval, etc... Be sure to also mention
Jamey Aebersold. I think he has had perhaps the largest hand in the rebirth
of jazz in this country... I'd say 90% of my own education came through his
materials, and the jam sessions I shared with many jazz playing friends and
the Aebersold play-along sets. I started wearing out his records abouth 30
years ago, and now have about 85 of his book/cd sets (there are now well
over 100)! THANKYOU JAMEY AEBERSOLD!! History will count you as one of
the greatest for all your contributions to our art!
I believe all these are probably for sale on Jamey Aebersold's website (not
too sure about that), but I would recommend getting at least the two Jerry
Coker books (#3 and #4 above) as I will start refering to them pretty soon.
If you can go ahead and purchase them all at one time, you'll have a library
that will satisfy all your jazz study needs for a VERY long time! At any rate,
do get the two Jerry Coker items because we will be using them soon!
Now it is time to read on in the book. Some of the material will be familiar
to you already from these lessons. Read pages 20-26 now. You should not
have any problem at all with the concepts given there. If needed just back
up and re-read any section that doesn't sink in right away. Jamey's writing
is very clear, and also very thorough. Just take your time, and I'll be back
later with a short review. See you later, and do read those pages (20-26)!
(such as the I chord at the end of the II/ V7/ I progressions in track 6). Go
ahead and write them in real small under the third measure of each line for
track 6 on page 74. Experiment by playing them right there for now. There
is no real need to learn all 12 yet, but I bet you can imagine how easy that
project will be when you do eventually tackle them all. For now just pencil
them in on page 74 and have some fun experimenting with them... As you
begin trying out each new scale you'll probably feel you've heard them all
before, and you have... literally thousands of times!!!
You should also go ahead and read pages 30 and 31 in the book about the
two kinds of pentatonic scales. You will notice that much other information
and useage suggestions are given there for these scales. For now, all you'll
really need to do is use the minor/pentatonic scales on tracks 2 through 5,
and the major/pentatonic scales on track 6 as I've suggested.
Don't worry if you don't understand everything on pages 30 and 31, just
know that in the future there are other great ways to use these scales as
well and we'll eventually get to those too! You should notice that each new
scale I'm presenting is simply a slight variation of some scale you learned
before. It keeps getting easier and easier the farther along you get. Master
each step as well as possible before going on. You'll thank yourself later as
you progress. It'll be less frustrating this way, and you'll be building a very
solid foundation on which you can build for as long as you like!
Here are the six MAJOR/PENTATONIC SCALES for you to use with track 6:
F, G, A, C, D, F .............. G, A, B, D, E, G ........... A, B, C#, E, F#, A
......
Bb, C, D, F, G, Bb .......... C, D, E, G, A, C ........... D, E, F#, A, B, D ...
.....
Well, that is pretty much it for this lesson! This new "major/blues" scale
is also used with major type chords, the same as the "major/pentatonic"
scales above, so you can pencil in the extra note with each of the scales
you wrote in to play with Track 6. The "+2" should be used for now as a
"passing tone", slipped in between the 2nd and 3rd scale steps. It should
not be held out, but simply "passed through" for now.
Experiment with this new sound... It will grow on you, as you learn just how
to handle that raised second step. There's no need to try memorizing all 12
yet, just experiment with the six I listed above along with track 6! So, do be
sure to write in those extra (+2) notes as suggested.
(5) PLAYING ALONG WITH THE TRACKS ON THE CD... We have not yet tried
to learn a single "lick", and it will still be a little while before we do... So
, you
should just continue playing fairly short melodic ideas using all the scales we
have studied with those first six tracks. Keep going slow and pause between
each idea to reflect, and also to try to "hear" the next short idea. Later, your
ideas will get better, and longer, and begin to flow much more smoothly!
Use all the scales you have learned so far when playing along with the tracks.
Just let all of them sink in very, very deeply!! This is what you need more than
anything else in the world. Just be patient, and keep experimenting... and also
do improvize away from the CD player as well. Every single scale you practice
should be improvized on WITHOUT the CD, as well as with!
(6) LISTENNING TO JAZZ SOLOISTS... One of the most important parts of any
jazz study, and often one of the most neglected, is LISTENNING... I hope you
are able to buy some of the DVDs and CDs I recommended for you. The Chet
Baker and Miles Davis things I pushed really are fantastic. If you only had the
Chet, Wynton, and Freddy DVDs I recommended in Lesson 12, you'd be very
happy. Also the one CD with Miles and Charlie Parker called "My Old Flame" is
so beautiful you will be in jazz heaven. It is also marketed as "Bird and Miles"
,
and also sold under the Charlie Parker titles as "The Best of the Dial Years"...
(7) REVIEW THE MATERIAL ON SCHEDULE... One of the very best things you
can do is to practice and review using a schedule. Make a list of all the scales
you need to master, then start checking them off... Make sure you improvize
on all of them regularly with and without the CD... The most important thing
I would want you to do is to constantly go back and review the material I've
presented in these lessons, and the material we've covered in the book.
Make a schedule listing all the scales, and all the lessons, and start checking
them off. I will try to hold off posting any more lesson for a while. If you hav
e
any questions at all do feel free to post them right here on this thread... I am
sure the answers will benefit everyone, so don't be shy... I will just be waitin
g
right here... patiently rolling my eyes.
real songs. The hardest part is over, and you'll begin using all the material
you've learned in real musical contexts now, so get ready to really move!!
I'll give you a little more time to make sure everthing's in order, then we'll
begin playing some real jazz. This is where it really starts to get fun!!!
you used to the 12 bar form. When you begin to improvize freely using the
scales it will be much, much easier. So... MASTER THESE THREE HEADS!
PLAY THEM, SING THEM, VARY THE RHYTHMS A BIT, TRY ADDING JUST A
FEW NOTES HERE AND THERE, AND PLAY ALL THREE WITH AND WITHOUT
THE CD TRACKS. NOW, BECOME OBSESSED WITH THOSE THREE HEADS!
I'll be back shortly, so start now on this project, and you'll be ready! This'll
really make
three tunes
you are now
it's one of
the scale in the first measure up and down, then the next scale up and down,
then the third, and so on. Don't try to play them "in time" at all. Just play ve
ry
slowly, listenning to how each scale sounds. You'll probably feel as though you
can almost hear the chords changing in your head!
Next begin improvizing on each of the scales in the same manner, still without
using the CD backgrounds. Continue to ignore trying to play the scales in time.
Very gradually... perhaps over the course of a week or so, you will continue to
improve to the point where you can put on the CD and play along with Track 7.
Be patient! Allow yourself time to get to this point little by little... You'll
spend
alot of time working towards this goal without the CD. But when you do get to
playing with the CD... you can now feel that you have definitely made it to the
"next level". Go ahead and try playing any of the heads along with the CD and
then go directly into an solo. Now you're really getting the feel of it!
You're playing your first real jazz tunes and improvizing with them!! This is
really a major milestone in the path to becoming a true jazz musician! Take
at least a week or two with this. Go back to playing the heads. Then go back
to just playing the scales. CRAWL, THEN WALK, THEN RUN. Take all the time
you need! It's all fun, so don't rush it! Many people break down at this point
because the transition from playing simple exercises to playing a real song,
where the scales change so quickly, simply overwhelms them, and they give
up. DON'T GIVE UP! JUST TAKE IT SLOWLY, PIECE BY PIECE!
One last thing, but it's a goodie!!! The two scales listed at the bottom of the
page, the C minor/blues scale and the C minor/pentatonic can both actually
be used all the way throught the whole song. Go ahead and try it... Yes, you
can use one or the other or both all the way through the whole song. It is a
good idea to try playing an occasional E natural with those C7 chords so you
can hear that too, but this is why those two scales are at the bottom of that
page. All jazz players use those scales but it's important not to overuse them.
Think of them as a spice to sprinkle into your solos, and continue working the
most on getting to the point where you can play using the scales suggested
under each individual chord. Also experiment with putting bits and pieces of
the heads (licks) into your solos as well. These are the kinds of things that
seperate a simple "blues player" from a real jazz musician!!
No need to go beyond this point for at least a few weeks!!! Just be patient and
keep reviewing earlier material, and the earlier tracks... Now you'll be playing
more and more, and studying less and less. Remember, I said you have all the
scales and theory needed for the rest of Volume 1, and about 95% of all you'll
need for a whole year! Play more, study less... Cool, huh?
Now, do take alot of time with this phase. Absolutely don't rush through this!!!
You'll fly right through the next three book/CD sets! The hardest part is alread
y
over. When you've finished this set, you won't be a beginner anymore! I am...
This lesson could be called "A BLUES REVIEW". So let's review the blues!
Below is a summary of the steps I suggested in the previous two lessons
to work gradually towards playing along with Track 7, the 12 bar blues...
1.
2.
3.
4.
5.
6.
7.
8.
9.
And finally suggestion #10..... Try using the C minor/blues scale, and also
the C minor/pentatonic scale all the way through all twelve measures. You
now have a recap of all the steps I've given so far on playing 12 bar blues.
All the material I've suggested can now be used freely in your soloing. You
would start Track 7 rolling and then begin by playing one of the heads once
or twice. Feel free to vary the rhythms and add notes if you feel like it!
Then begin to improvize a solo. Start slow to get your bearings and use just
the suggested scales under the chords at first. Keep it very simple! Next, try
using a lick or two borrowed from the heads you learnd so thoroughly... Play
with those licks, and repeat them a time or two using slight variations. This is
your solo and you can do almost anything you want with it! HAVE SOME FUN!
Try using those minor/blues and minor/pentatonic scales exclusively a while,
and then go back to the scales listed under each chord, along with some licks
you particularly like from those heads. To end the song, you simply play the
head again a time or two, and you're done!
Once you can do this, even just playing very short simple ideas, you are no
longer a "beginner" anymore. You are playing exactly the same way as real
jazz musicians do everyday. They mix playing a few licks and material from
the melody, along with freely improvized material using all the scales, into a
spontaneous solo on the spur of the moment. You are now a jazz player!
Remember that it is a good idea to go no further than this for at least a few
weeks... Keep playing all the tracks up to this point, and reviewing all of the
material I've presented here as well. If you will be patient, and let all of thi
s
sink in very deeply, it will make everything that follows much easier!
Apply all the suggestions in Lesson 33 to this Track too. It should go much
easier this time, as you've already done it all with the C blues on Track 7...
Everything is just the same as before except that this time the song is in G.
Even the minor/blues and minor/pentatonic scales are given just as before,
except this time in the key of G. Apply everything suggested in lesson 33 to
this track as well.
It's very important to go slow and let everything sink in deeply. The longer
you take with all this the better. We're building a foundation... we're building
YOUR FOUNDATION. Don't cheat yourself. Practice consistently. Go back and
review often. Now that you have all the basic theory, it is pretty much all fun
now. All the pieces of the puzzle are beginning to fall into place already.
Again, DON'T BE IN ANY RUSH! I'm continuing to post each day for mid-level
and advancing players, so beginners should not try to keep up. Just go slow,
at YOUR OWN pace! These lessons will all be waiting right here for you when
you're ready for them. Above all else, take your time, and HAVE FUN!
the note F#, when the chord changes to G7, you'd hear
it to the G in the new chord... We call this "resoving the
onto the note C, you'd strongly feel the need to resolve it
chord. We call that "resolving the 7th".
If you play with that first dominant/mixolydian scale, even without that CD
background, you'll hear and feel the need these tones have to resolve as I
described. Go ahead and play with this effect right now. Play and improvize
on that first scale a bit, and you'll find that holding the F# creates the need
to resolve to G, and holding the C creates the need to resolve to B.... Take
your time with this and just experiment a while without the CD. Then put on
Track 9 and experiment with this same thing, WITH the CD background.
Go ahead and play the whole track. You'll notice that the chord tones have
been darkened in the corresponding scales, so this will make it easier to be
aware of which tones are the 3rds and 7ths in each scale. If you improvize
freely on each scale without regard for keeping track of those chord tones,
you will still sense the need to resolve them carefully each time the chords
change. Go slowly so you can really hear this "resolution" effect each time.
Well, that's really about all there is to it. Dominant seventh chords feel like
they need to "move onward" to the next chord. Just play this track using the
dominant/mixolydian scales given below each chord symbol, and listen how
they resolve. If you feel as though you've hit a "clinker", it's likely that you
held one of those 3rds or 7ths too long. It's no crisis when this happens!
Actually it's kind of good to make these mistakes many times, as it will teach
your subconscious mind "what not to do"... The mistakes teach us even more
than our successes sometimes. Just go ahead and play, and don't be timid!
One more thing... I've told you that the mixolydian scale is the fifth mode of
a major scale. Please notice that it is also just like a major scale starting on
the first step, but with the one exception that the 7th tone has been lowered
one half step. This is how I want you to learn them and think of them... as a
"major scale with a lowered 7th".
3, 5, 7
-3, 5, -7
5, -7
+5
-5, -7
Next, a few example of names you'll see for the "mixolydian mode"...
(1)
(2)
(3)
(4)
The
The
The
The
"C
"C
"C
"C
These are all names of scales, NOT CHORDS! Jamey's use of the names for
the various types of chords in his terminology for scales is intended to make
things easier for the beginner. It would help them to connect the chord name
directly to the scale name, thereby removing a step in the process of trying
to figure out which scales to use with the various types of chords. It would
go something like this:
For a minor chord, use "the minor scale". (That is Jamey's term for dorian.)
For a dominant chord, use "the dominant scale". (JA's term for mixolydian.)
Jamey will sometimes use one set of terminology and then later use another.
This is really helpful as it gets the student used to seeing all the various way
s
the chords and scales are refered to.... Jazz is such a new art form that there
are no real conventions established yet. That's why so many different versions
exist for the various chord symbols as well... Jazz musicians try to be familiar
with as much of the terminology as they can. Hope this helps, and do be sure
to review all this stuff about notation systems, and terminology, some more!!
Major/blues
Major/pentatonic
Minor/blues
Minor/pentatonic
just as a "passing tone" when you play this scale. Don't hold it out, just pass
through it on the way to the 2nd or 3rd steps.
A comment about the minor/blues scale: Although the scale has the lowered
3rd step in it, which you'd normally expect might conflict with the "unaltered"
3rd step found in the dominant chord, it will still sound "right", at least on t
he
longer dominant chords like we're dealing with here. This has to do with the
"unsettled" or "unresolved" quality of those dominant chords. Don't worry if
it doesn't seem to make perfect sense, just go ahead and experiment with
it, and you'll see what I mean.
One last comment to everyone... If you just know a few (6 or 7) examples
of each of these scales that I assigned before, that's fine, just use those. If
you're more advanced, or just more ambitious, you can go ahead and learn
all twelve of each scale listed above now. Then you could try using any or all
of them with this track... In any event, I'd suggest learning all of these soon
anyway, thereby filling in all the gaps in your current "scale arsenol". You'd
then know all the major, dorian, and mixolydian scales, as well as all of the
major/blues, major/pentatonic, minor/blues and minor/pentatonic scales...
Don't let this scare you!
If you've been checking off scales one at a time, you're pretty close to knowing
all of these already. You are becoming a well equiped jazz improvizer, ready to
tackle anything that comes your way! Make that schedule I keep mentioning, and
check off scales, and other lessons and materials, in an organized manner.
Time WILL pass, and you WILL get them all. Just keep checking off each scale
one at a time, and then use them all with the recorded tracks. Also be sure to
improvize on each scale a bit, as you work on them without the CD as well.
The scales are also given there in the book, below the chord symbols. You
will also notice that no melody is given for this song... but I assure you that
this is not just another exercise. Like the 12 bar blues tracks, this should be
thought of as a "real jazz song". Although there is no key signature given at
the beginning, the song is in the key of D major, so you'd expect that much
of the song should use the D major scale, and you would be right!
This song would use a D major scale in those first two measures... then a
Bb mixolydian scale in measures 3-4... Then in measures 5 thru 8 we see
the II/V7/I chord progression. Let's talk about this II/V7/I for a moment.
First of all this II/V7/I chord progression is identical to the one in the last
line
of Track 6... It is in the key of D major, and it can be played using modes of
the D major scale exclusively, just exactly as we did in Track 6.
E minor chord............... uses E dorian.............. (the 2nd mode of D majo
r)
A dominant 7 chord....... uses A mixolydian....... (the 5th mode of D major)
D major chord.............. uses D ionian.............. (the 1st mode of D major
)
The main thing to remember is that every suggested scale is a mode of the
one "D major scale". They all start on various different steps of the D major
scale, but they all use the same notes. You will notice that I used all of their
"modal names"... dorian, mixolydian, and even ionian. But again, all of them
are made up of notes from the D major scale. If you have any doubts about
this concept.... go and review the info on the II/V7/I chord progression right
now in LESSON 22. Always learn all the info in each lesson before you go on!
So, now for the big picture... look at my list of suggested scales above, and
you'll see that this whole song can be improvized over using nothing but the
D and G major scales, and the Bb, Eb and E mixolydian scales.
The next part should come as no surprise... Open the book to page 76, look
at Track 10, and begin playing up and down the scales a bit without the CD.
Then improvise on each scale a while with no regard for beats, tempos, and
trying to "keep up" with the chord changes. Remember, when you get to the
II/V7/I chord progressions... just think of the whole four measure sequence
as simply using the D major scale all the way through. There is no need to
think about each individual mode for now...
Continue without the CD until you can play, improvizing pretty much in time,
hitting all the chord/scale changes with a steady but slow beat. Tap your foot
very slowly to force yourself to play in time, then very gradually pick up the
tempo until you feel you can "hang with those Aebersold boys".
Get brave... put on Track 10... and dive in! Play very, very, very few notes
at first! Yup, same advice I've given every single time! Use only a few notes
with lots of silence, so you can actually hit EVERY SINGLE CHORD CHANGE!
Later you'll gradually use more notes, and play more flowing lines... but for
now, KEEP IT REALLY SIMPLE and NAIL DOWN THOSE CHORD CHANGES!
Well, there it is. There is only one track left to finish Volume 1! If you're th
is
far along, it is definitely time to order Volume 2, 3 and 5. Yes, go ahead and
get all three right now. I'll jump around a bit from one to another, so get all
three right away. Most beginners should have taken 3-6 months to really get
everything I've presented and learn all the scales up to this point. I keep on
posting at this rate mainly for the intermediate level players. They can make
sure they're really up to speed, and keep up with me... but beginners should
more track to go. I've taught you much more theory than you might
and many more concepts than most people would cover going through
volume. If you really absorbed everything I've given... you're well on
to becomming a jazz improvizer. You are already improvizing with a
songs, and you are quickly becoming a true jazz musician!
DOMINANT 7th CHORDS AS IF THEY WEREN'T EVEN THERE. Anytime you see
the II/V7 progression it should be handled this manner.
Make sure you learn all 12 dorian scales so well that you never have to think
about how each one is really just "another major scale starting on the second
step". When you improvize, there's no time for that. You must simply think of
dorian as a scale unto itself... There is just not enough time to consider which
major scale each is built from, and there won't be any scales there below the
chord symbols to guide you. In a jazz group setting, the soloist's sheet music
will have the chord symbols printed out for him, but no suggested scales.
It's assumed that he knows what scales to use, and there's always more than
just one possible scale for an improvizer to choose from anyway, each having
its own special sound or flavor. So, the bottom line is... learn all of the scal
es
you'll use so well that you don't have to do any kind of thinking or calculating
whatsoever. In time, you'll become so familiar with them that you won't even
have to think about it!!! You'll also know exactly how each one sounds... and
when you "hear" various musical ideas in your head, you'll know which notes
and scales they're built from instantly! OH YEAH, IT WILL HAPPEN!!!
Go ahead and get Volumes 2, 3 and 5, and also Jerry Coker's book "Patterns
for Jazz" (and his paperback "Improvizing Jazz" if at all possible). This should
be enough material to last almost any improv student for a full year! I am...
point even with all my lessons... imagine what it would've been like to go it
alone without them. Even if you read nothing else in the book you're ready
to start Volume 2, "Nothin But Blues". But, do at least take this opportunity
to review a while and then we're moving on...
me
One. For trumpeters, this would be blues in the key of G, and it is located on
page 18 of your book.
A few comments: First of all, those "dotted eighth and sixteenth" rhythms are
meant to be played with a 2/3 and 1/3 division, not 3/4 and 1/4 as written!! It
is basically a slow swinging blues in a New Orleans kind of style. Not dixieland
,
but a very slow bump and grind kind of down and dirty feel. You can obviously
use the suggested scales, but you should especially experiment using your old
friend, the G minor/blues scale!
Also experiment by using the "roving third" concept we studied before, where
you'd emphasize the B natural in the G7 chord, and the B flat in the C7 chord.
Also try using a lick or two from the blues licks given on page 3, and the blues
licks you learned from the heads in Volume 1, and also try using some stylistic
phrasing like one might hear walking down Bourbon Street, at 11 PM on a hot
Saturday night!
Bending notes a little flat can get a very "bluesy sound", and flutter tonguing
or growling are also effective techniques here, but don't overdo them... They
should be thought of as spices that are sprinkled in here and there. And... as
you know... too much spice will ruin the gumbo!
Do you know what it means to miss New Orleans? If not, you better go and
order that Wynton Marsalis DVD I told you about, "Blues and Swing". If you
don't love it more than any DVD ever, then there's just something basically
wrong with that! Just kidding, but not about getting that DVD. Do it now!
Be sure you have all your Aebersold sets (Volumes 1, 2, 3 and 5) as well as
Jerry Cokers, "Patterns for Jazz" and "Improvizing Jazz". Ya gotta have 'em!
Play up and down the suggested scales without skipping notes very much.
In other words, you'll be playing the notes in consecutive order more, and
skipping around less. You'll find it's easier to play fast when you don't skip
notes as much. Spend a considerable amount of time with those suggested
Learn and use all the material from this head in your improvized solos.
Use the first 3 heads from Vol. 1 page 77 in your improvized solos too.
Use the last 2 heads from Vol. 1 page 77 and transpose them to fit too.
Vary the rhythms and add notes to all these heads and speed them up.
5.
6.
7.
8.
Use the suggested scales using more consectutive steps and less skips.
Mix all these materials together freely, and play with that "roving third".
Take blues licks from page 3 and transpose them so they fit in this key.
Gradually increase the speed of all these materials over several weeks.
Well, as you can see, all the suggestion are the same as those in Lesson 44.
This should come as no surprize. You must go slow at first and be patient. It
will obviously take more time to reach these tempos. Again you must rely a
bit more on the licks you've learned from the heads and other sources since
the speeds are so fast. There's less time to pause and reflect or think ahead
in order to "pre-hear" the next idea. Even so, it still happens, just at a much
faster speed than before.
The main piece of advice I would stress is this: Reaching the faster tempos
will take more time, that is all. Don't try to just throw on the CD and expect
it to happen the first day. Plan ahead more than before. Gradually work the
materials you'll be using up to speed over a few weeks. Again, as you work
on these two faster blues tracks, all of your playing will accelerate from that
"carry over" effect I described before... In fact, everything you learn carries
over into all other areas of your playing. Time will pass, and you'll just keep
on getting better and better! Stick with it, be patient, and just try to cover a
little more ground each day.
Your progress will get a certain kind of momentum to it as all the pieces of
the puzzle fall into place. It is very satisfying watching this process, so just
enjoy the journey, and you'll go far! It just takes time... v
few 'Blues licks' into a notebook right now, after the recent work we've been
doing with all those blues tracks.
Another fantastic way to get licks it to extract them from transcription books..
.
These are books where actual famous jazz solos have been written out for use
by jazz musicians. "28 Modern Jazz Trumpet Solos" volumes 1 & 2 can both be
ordered from Jamey Aebersold's website www.aebersold.com and these are
two of the best collections ever assembled.
Another great way to aquire jazz licks is to extract them from jazz solos you
like, by simply listenning to them, and then figuring out how to play the best
ones on your own. Students often do this and even write out entire solos that
they really love. This is called transcribing, and is not only a good way to get
yourself some licks, but it is also very valuable in trainng the ear as well!
In my opinion... the very best way to get licks is to get them from yourself!!
Here is how this works: If you just sing along with a jazz tune or even some
play-along tracks, you will be improvizing using your own licks. Not all will be
jems, but a few definitely will be, especially for use by YOU!! The ideas you'd
sing are the ones that will keep coming out of you over and over again. In a
way, this could be considered "the real you". These ideas are your very own
personal licks, and they are a part of your very own personal style! ...
It's a great idea to put on some play-along tracks and just skat sing along with
them while recording yourself. Then later go back and write down the very best
stuff, the licks that seem the very best TO YOU! Write down those licks that you
already "hear" frequently in your head... I don't know why more people don't do
this or why I don't see others recommending this, but believe me... these would
be some of your very best licks, and it really is "the real you". If you learn h
ow
to play the licks that already come out of you then you'll actually be able to p
lay
what you "hear" all the time! What could be cooler than that?!!
Go ahead and read the introduction to "Patterns for Jazz" several times now...
I value this book even more for the theory instruction and playing philosophies
than for the patterns themselves! It is a great book, so start your reading now!
Jazz improvization is a craft... not some mysterious gift for only a few.
Jazz players use patterns from many sources in a spotaneous manner.
Jazz players pre-hear musical ideas in their minds before playing them.
The skills are all habitualized actions, requiring conditioning in advance.
Much theoretical information was put into this book along with patterns.
The patterns can be altered and transposed to fit any chord in any key.
7. Students should listen to great players & fill their minds w/ great ideas.
MAJOR TRIADS (pages 1-9)
Many of the patterns in the book are meant to be training exercises, leading
up to actual useable jazz licks. All of the patterns here fall into this categor
y.
You would not actually use these first few patterns as licks when improvizing
since they are merely meant as preperatory exercises. You'll notice the four
basic types of root movement here that are mentioned in the introduction:
(1) "cycle of fifths" ............ roots moving down by fifths........... C down
to F
(2) "chromatic" ................. roots moving up by 1/2 steps........... C up t
o Db
(3) "stepwise" ................... roots moving up by whole steps........ C up t
o D
(4) "minor thirds" .............. roots moving up by minor thirds....... C up to
Eb
These are considered to be the four most common types of root movement...
I would also include root movement downward by 1/2 steps to this list as well.
So, you should practice patterns using this "down by 1/2 steps" sequence too!
MAJOR SIXTH CHORDS (Pages 10-11)
I haven't introduced you to this "major type chord" yet. I'll do it using the
formula type notation I discussed in Lesson 36. The formula for the major
sixth chord is: 1, 3, 5, 6 (again, this means the 1st, 3rd, 5th and 6th tones
from a major scale) So as you can see starting on page 10 the CM6 chord
has the notes C, E, G, A... the DM6 chord has the notes D, F#, A, B, etc...
All these patterns are preperatory in nature as well, not really jazz licks.
They could be made to sound like "real" licks with a little improvement on
their rhythms though, and then they'd all work with "major sixth chords",
and with the other major type chords too, like M, M6, M7, M9, etc...
MAJOR 7TH AND 9TH CHORDS (pages 12-15)
Some of these patterns are much more melodic just as they are, and could
therefore be used as jazz licks without any modification at all... I see four of
them that would make good licks for use with M7 and M9 chords right now!
Patterns #18, 19, 24 and 26 are pretty good examples... Play through just
a few chords on each of the patterns in this section to see if you agree. You
may like some of those enough to want to put them into your personal bag
right now, or you may want to play with some rhythms a bit, or alter some
of them a little in other ways before you really like them. This is where you
really start to take control of your own destiny... If you don't like how a lick
sounds, ditch it and move on. If you feel it may have potential for you then
try some slight variations before you decide. If you positively love a pattern
then put it right straight into your notebook, and then you'll have it forever.
I hope all this makes sense to you. I will leave you now to read, study and
practice on your own. I'll also treat you as an intermediate level player and
I trust you completely to make all your own decisions about which licks you
like and which ones go into the scrap heap. Your eventual stylistic direction
is completely up to you! Perhaps you'll already love some of the patterns in
this section. If so you can go ahead and practice them and even try playing
them over any of the major chords with the Jamey Aebersold tracks too.
Even the preperatory patterns should at least be practiced some to help you
to get used to the chords. BTW, I'm sure you're noticing we're using chords
to build licks from (as well as the usual scales)... It makes perfect sense!
from each section to put in your own notebook and practice, to at least make
sure you don't miss anything, but then just concentrate on the ones that are
the most melodic and useful. I hope all that makes sense to you.
MAJOR SCALE INTERVALS ( pages 28-31 )
The interval studies in thirds would probably be the most valuable to spend
some time with here, as most all chords are built using the third interval. I'd
definitely spend some time with those.
From pages 16-31, I personally find the patterns that follow to be some of the
most melodic and useful licks, or at lease very valuable to spend some of your
time with as preperatory material: Patterns #29, 33, 38, 39, 40, 41, 43, 46, 50,
58, 59, and 60. Again, some of these seem quite valuable as training exercises,
while others seem to be more useable licks. I especially like the last two (pret
ty
much the same, I know) and have incorporated a slightly extended variation of
that lick into my own arsenal of favorites. The Clarke-like patterns, adapted to
minor chords and scales, are also often heard coming out the end of my bell.
Some guys feel funny revealing their own frequently used licks... I don't think
that way... I'll share anything I know, but I've seen lots of guys clam up if yo
u
ask them, "Hey, what was that lick you just played?" Some feel they've worked
too hard on their own "arsenol of weapons" to share them so easily with others.
I've never felt that way. I'll give up all the secrets anytime!
On the G-7 and C-7 chords, you can use any of the minor type scales we have
covered so far. (such as the dorian, minor/blues, and minor/pentatonic scales)
Let's discuss those other two new chords briefly... "D in bass" & "C in bass"
means that the rhythm section players will do something unusual. While the
piano and guitar players will play the A-7 and G-7 chords as usual, the bass
player will play the note D (with the A-7 chord) and C (with the G-7 chord).
Sometimes the pianist may even join in, by playing those "bass notes" with
his left hand as well. A creative guitarist may even do the same, by playing
the "bass notes" on his lowest strings. This is optional for them... but not for
the bass player. He will always play those special notes and it makes a very
On all the minor 7th chords you would use any of the minor type scales you've
learned before (such as the minor/blues, the minor/pentatonic, and also all the
dorian scales) just exactly as you did in the blues above, with "Mr. Super Hip".
There are once again two new chords used in this blues, so let's discuss them.
The chords appearing in measures 9 and 10 are E7+9 and A7+9. These chords
are both dominant 7th chords with one exception... Each of them have had the
raised 9th tone stacked on top... I will use that "formula notation system" agai
n
to describe this. The formula for these two chords would be: 1, 3, 5, -7, +9. I'
ll
give you another example in the key of C... since that is often easier to grasp:
The chord C7+9 has the notes C, E, G, Bb, and D#.
Now, what scale should we use with these? The answer is "the diminished whole
tone scale"... The "d-w-t" scale for each of the chords E7+9 and A7+9 are there
on the page underneath the chord symbols. They're built using something called
a "diminished" scale, joined together with a "whole tone" scale... Fully describ
ing
these scales is a little complicated, and will happen in a future lesson, so for
now,
trust me and use the scales as they are printed underneath each of those chords.
Another way to handle these two new chords is by playind a D minor/blues scale
over both of them, and you could even experiment using that exact same scale
(D minor/blues) over this entire track!
You've now covered five of the tracks on "Nothin' but Blues" and, you've also
gotten a good start with the "Patterns for Jazz" collection by Jerry Coker too!!
Feel free to read onward in it, if you like. It is also a very good idea
ew
in all the books at this time... Go back to Volume 1, and read everthing
skipped over. Don't worry if it doesn't all make sense to you right now.
you're having fun. I'll just be waiting right here, patiently rolling my
to revi
we've
I hope
eyes.
OK now, this blues is in the key of E minor... but I wouldn't try using that
E minor/blues scale over the whole thing this time. All the previous blues
tracks you've played were fairly suitable for use with one minor/blues or
one minor/pentatonic scale to be use for extended periods of time. Since
this one visits chords that aren't in the parent key (of E minor) for longer
than just one or two measures at a time, this easy way of improvizing on
the chord changes will not work. You'll have to change scales, every time
the chords change.
E-7.......................
A-7.......................
C-7.......................
B-7.......................
Uses
Uses
Uses
Uses
any
any
any
any
of
of
of
of
the
the
the
the
E
A
C
B
minor
minor
minor
minor
type
type
type
type
scales.
scales.
scales.
scales......HOWEVER...
their unique characteristic sounds for a while, then go straight back to dorian!
!
Well, this makes your sixth track from "Nothin' But Blues". Each time I strongly
recommend experimenting with a certain aspect of your playing on a particular
track, it is because that track is very well suited for it. In some styles, you
will
bump and grind, using just one "earthy" minor/blues scale for the whole song.
On some other modern tune you might experiment more with minor/pentatonic
scales, and on other songs (like this one) you should do everything you can with
the various dorian scales. Each scale has it's own sound, and each has different
strengths that are more suited to one style or another... That is what I'm helpi
ng
you to discover for yourself. You need to choose the right scale for the right j
ob,
so you need to become very familiar with what each one has to offer!
volume 1, except of course, be brave and take them on in all 12 keys. Folks
that don't have all their major scales thoroughly master by now... should not
be working on lessons this far along. By now you should know your 12 major
scales, the 12 dorian, and 12 mixolydian. You should also know many of the
major/blues and major/pentatonic scales, and also many of the minor/blues
and minor/pentatonic scales. Just keep checking them off one at a time. It'll
probably take 3-6 months, before you'll know all seven of these scales in all
of the keys, but these scale will be some of your very best friends for life!
Now, back to Track 1... Go especially slow at first... playing only a few notes
so that you can really nail it when the scales change each eight measures!! If
anything is just too hard, simply back up, slow it down, play simpler ideas and
work scales some more. The biggest stumbling block here is impatience. Don't
let it get you! Just take things a little at a time. It all kicks in after a whi
le, and
then it all moves forward much easier and with much less frustration. Go slow!
Very soon I will be introducing patterns, or 'licks' that fit with these changes
and also patterns that will work with Track 2 as well. But for now it is best to
simply continue experimenting with free improvization a while longer before
moving on. Trust me... I'm teaching in a way that will give you a foundation
on which you can build for as long as you want. OK, it's all your's!
time to be able to really think and nail each chord/scale change. Later, you
will gradually pick up the pace and play longer, more flowing lines, that will
connect the changes more smoothly. Still... I don't want you to just run up
and down the scales mindlessly. Pause repeatedly to reflect on what you've
just played, and try to "pre-hear what ought to come next". This is so very
important, and so ofter overlooked. This is the key to making real creative
music, instead of just running up and down scales and plugging in licks!
Very soon, I will present patterns that will work with Tracks 1 and 2. We all
need to learn patterns or "licks", and we will indeed weave parts and pieces
of them into our solos, but mostly when they are HEARD as part of a bigger
musical idea. Occasionaly when one hears nothing, or the tempo is too fast
to allow for as much pre-hearing as we'd like, we'll actually resort to simply
plugging in a few licks that are understood to work in certain situations.
Don't get me wrong, I have nothing against the use of licks, and we'll learn
and use many for sure. I just hate to hear the kind of solos that aren't really
musical in any way... but merely a bunch of scales and licks strung together
without any real artistry to them. Perhaps you've heard some of that kind of
playing. That is the way to get started, but eventually we need to create art!
Just a couple more comments, and then I'll let you play. Although this song
is written using many dotted eighth and sixteenth rhythm patterns, they are
meant to be played with a 2/3 and 1/3 division of the beat, and not the 3/4
and 1/4 one would naturally expect. One last comment now, just to tease...
You will see the two chords "E half-diminished and A7+9" repeatedly during
this song. Those are the II and V chords in D minor. Perhaps you will be able
to see why the D minor/blues scale works so well through most of this song.
Just as a major scale works all the way through a II/V7/I chord progression
in a major key... one minor scale can similarly work all the way through the
II/V7+9/I chord progression in a minor key. Just something to think about...
I will come back to all this "minor key" stuff very soon!
There are only four chords, and therefore only four basic scales are needed
to play the improvised solos. I will suggest a few others you may try as well.
The first thing you will notice is the unusual chord symbols... You'll probably
recall seeing chords such as "B-/E in bass"... which means that your rhythm
section players play a B minor chord, while the bass player plays the note E.
The 'B-/E' means the same thing. 'C-/F' means a C minor chord with F in the
bass. Then comes A-/D, and G-/C, etc. They all refer to a certain chord, but
with a note in the bass other than the usual root we'd normally expect.
So..... you will probably also recall that the unusual note in the bass has no
effect on which scale the improvizer uses in his solos. Under the B-/E chord
is the B dorian scale, just the same as you'd expect to see without any E in
the bass. Similarly, under the C-/F there is a C dorian scale. Again the F in
the bass has no effect on our choice of scales.
Basically, we will use four different dorian scales, for four measures each. It
is also possible to substitute the corresponding minor/blues scales, as well as
the minor/pentatonic scales in the same manner, four bars each. It's probably
more beneficial at this level to play one scale for four full four measures at a
time... just to continue drilling the sound of each scale into your head as much
as possible. Later we will come back to these simple tracks and do much more
with them as you learn more patterns, scales, and strategies, etc...
Actually, we'll be back to revisit some of these "easy tracks" again and again.
This one is particularly useful for introducing several new concept as we keep
progressing. Even the simplest music can have infinite possibilities!
just like a major scale with the fourth tone being raised a half step. I want
you to think of it that way when you use it. (This is much easier that trying
to visualize it as the fourth mode of some other scale.)
So use the major scales with the major chords, then use lydian with the Ab
major (+4) chord... Actually all of the major chords would sound nice using
lydian as well, so do experiment with that too. 1, 2, 3, +4, 5, 6, 7, 8... Some
other "major type scales" that you can use would be the major/blues and the
major/pentatonic scales. Try these out and you will find that some work well
in this particular style, and others don't. It's the kind of thing you should fi
nd
out for yourself. There is one other thing you ought to experiment with... We
have begun using a few patterns from the Coker book, 'Patterns For Jazz'. If
you have found a major type pattern there that appeals to you, it would now
be a good time to try transposing it into the keys for use with these chords.
style of music. It will also sound stiff or "square". By introducing the accents
as written, we get more "bounce" or "lilt"... and by using the slurred patterns
we get the "cool" element as well. Excitement, plus that cool feeling together
is what people associate with jazz... Even the tongued notes are often played
with a more legato style. Without these elements we might as well be playing
in a marching band. Correct articulation for the jazz style is so important.
Even when playing a rock/jazz or funk/jazz groove without swinging eighths...
we will still use a syncopated accenting format, and even a different aticulatio
n
as well. All jazz music has alot of expression in it, and it's our job to get al
l the
subtle nuances across so that the listener feels this cool excitement too. Make
sure to do your jazz listenning. That will help alot too. NOW GO EXPERIMENT!!!
Cycle of Dominants
Digital Scale Patterns
Digital Chord Patterns
Outside Type Patterns
OK, now where do we get these patterns from? Well, please read Lesson 46
again right away. It will explain how to get jazz patterns form "jazz patterns
books" that are commercialy available and how to extract nice melodic licks
out of jazz tunes or heads that you particularly like. One can also buy books
of "transcribed solos" and select appealing licks from there to enter into your
notebook, or you can simply transcribe solos yourself in order to get a bunch
of really great material that way. And, by the way, transcribing solos yourself
is extremely valuable to the "training of the ears" as well. There have already
been quite a few great licks presented right here in the Aebersold play-along
set books as well. There are many great patterns in Volumes 1, 2 and 3, both
of the preliminary type and the real useable jazz licks type too! And, as you'll
recall, I feel that the most valuable licks of all come right straight out of yo
ur
own head. These licks will keep coming around again and again. I feel they're
as close as you can get to expressing the real you, and that being able to play
what you hear, is the best thing you can play. You can sing along with various
basic Aebersold type tracks, or even jazz solos from CDs etc, and then simply
record yourself singing... Later, go back and figure out how to write down the
best stuff you sang. The further you go... the better your own ideas will get!
Well, this is it for Lesson 60... I will discuss this first notebook of jazz pat
terns
in the next lesson much more, as well as the second notebook that will contain
transcribed solos, and also your own composed solos to fit with standard song
forms such as 12 bar blues, and something called "rhythm changes". That 2nd
notebook is going to begin way off the in future still. I really just wanted you
to
start thinking about it a little... In Lesson 61 I'll give you the rest of what
you'll
need to get that first notebook of jazz patterns going... If you get some music
manuscript paper at the music store, be sure to get at least two of the biggest
spiral bound type books that you can find. www.penders.com
'contents page' in the front of the book. We'll just be talking about the "first
notebook" for now, containing many general patterns.
The brand of notebook I used is the "Sightation" Manuscript Book. It is also
labeled "No.103-96 pages". This 96 pages is enough for most people. If you
ever run out of room with this, just start another and keep going. I feel sure
this will not likely happen to anyone for many years... especially if they limit
themselves to the licks they find to be appealing enough to keep for life... A
few people will write down every single pattern they come across, but there
just isn't enough time to learn every one of them in all 12 keys, so limit this
collection to the "REAL KEEPERS"... Only about 5% will fall into this category.
Transcriptions books yield even less. I only want the "best of the best" to go
into my personal bag. I would strongly advise you to do the same.
In Lesson 60 I listed the titles to the various sections or "chapters" in my own
personal notebook. I will give you an idea of about how many pages you can
allow for each section if you use the same kind of notebook and sections as I
did with mine. This is a very realistic outline, and it will work for you as wel
l!
1. Major Type Patterns....................10 pages
2. Major II/V7/I Patterns.................10 pages
3. One Bar Major II/V7/Is................ 6 pages
4. Minor and Blues Patterns.............10 pages
5. Minor II/V7+9/I Patterns...............6 pages
6. One Bar Minor II/V7+9/Is..............6 pages
7. Altered V7/I Patterns.....................6 pages
8. Turnaround Patterns....................10 pages
9. Pentatonic Patterns........................8 pages
10.
11.
12.
13.
That makes 94 pages, plus a contents page and one blank page totals 96 in
all. That fits perfectly with this 96 page notebook... and it also gives a fairl
y
appropriate number of pages to each section. As you can tell, the categories
you'll use the most are the ones using 10 pages... The other categories are
equally important, but the licks are either shorter, or you probably wouldn't
need as many examples from those in your repetoir. At any rate this seems
to me to be very realistic if you only keep the "best of the best" licks, and I
doubt you'll ever run out of room with a notebook like this.
I am actually over estimating what I think the average improvizer would ever
need. I am in favor of learning fewer licks extremely well, instead of hundreds
and hundreds half way. When you learn fewer licks extremely well you'll easily
begin spontaneously improvizing variations of them in time... You'll branch out
more naturally from the foundation you've built, and also be more able to truly
"play what you hear"... I'll spend more time helping you to completely get your
patterns notebook together in the next lesson as well, so you may want to hold
off on actually entering licks into it at this time. After collecting licks for
a while,
players will often start over with a new notebook and re-enter licks into it mor
e
neatly, and more organized, and more useable, so don't worry about it at all.
If you aren't happy with your first draft, you can always redo it again later on
...
I treat my notebook with the highest repect. I wouldn't let it go for thousands
of
dollars $$$ (unless I had made a copy of it first, of course!)... ... I'll be ba
ck!
simply be left up to the improvisor to put in his own resolving major type lick
at that point for the I chord. So... sometimes you just put in one of your own
major type licks at the I chord. One more thing about this category: You will
recall I told you that the II/V7 part of this progressin can sound and function
as I and IV chords from a minor key... when the progression doesn't resolve
to the final I chord. We handle it with just the dorian scale only to achieve th
e
proper sound, and not set up our listeners for a resolution that never comes.
Dorian is great to use through the two measures, and minor/pentatonic works
very well too. You can enter licks appropriate for this purpose here as well...
The same thing is suggested below for the "one Bar" versions also.
3. One Bar Major II/V7/Is... This is similar to the licks just above except that
the II chord lasts ony two beats, and the V7 chord lasts just two beats as well.
Again, the I chord may or may not have notes with it, leaving the resolution to
a major type lick up to the improvizer. That's why I call them "One Bar". That
II/V7 part lasts only one bar. This section should also include what we call One
Bar II/V7 licks as well (that never resolve to I, and usually sound and funtion
more like the I and IV chords from a minor key)... If any of this is losing you,
then you need more review of earlier lessons!!! Be patient and master all the
info in each lesson before moving on. Keep it slow and simple. It will be much
less frustating, and alot more fun!
4. Minor and Blues Patterns... These are the type of licks suggested in JA
Volume 2, and provided in the blues heads there... and available from the
Coker book, etc, etc.... They can be built from any of the minor and blues
type scales or minor chords, or any combination thereof.
5. Minor II/V7+9/I Patterns... Same situation as in #2 above except in a
minor key. The II and the V7+9 chords last one full measue each, and the
resolution to the I chord is often left to the improvizer. We haven't covered
these yet, so don't worry about this.
6. One Bar Minor II/V7+9/Is... Like #3
only two beats each and the resolution
the improvizer. That's why I call them
only one bar, and the final resolution
9. Pentatonic Patterns... You should feel free to enter basic preliminary type
major and minor pentatonic type licks, and even some real useable jazz licks
built from these scales too. Remember all the different sources you can draw
from... I listed them in Lessons 46 and 60... Use these sources to get licks to
put in all the categories covered so far. Some, like minor pentatonic patterns
from a blues head you learned, can be entered in category #4 and category
#8 as well. Some other licks can be entered in more than one category too!
10. Cycle of Dominants... Not really been covered yet, but we did play some
in Volume 1... We used mixolydian primarily, but several othe scales worked
there as well. You should probably hold off on making any entries here too.
11. Digital Scale Patterns... Please do remember that the word "digital" refers
to licks that have a kind of mathematical formula applied to a scale... or even
a chord. I seperate them into categories of their own, since these patterns can
usually be applied to a variety of different scale and chord types... You can li
st
them under a digital category... then when you find one that works particularly
well with a certain type of chord, then list the pattern within these appropriat
e
categories as well... like Major Patterns, or Minor and Blues, etc.
12. Digital Chord Patterns... These are simply digital type patterns applied
to chords. They are various forms of arpeggios that are also very useful to
jazz players. Just like the digital scale patterns above, they will go into this
category. Then later on, the ones that work especially well with certain types
of chords will go into those appropriate categories as well.
13. Outside type patterns... The most exotic of all licks in a sense, outside
patterns refer to licks that depart from the traditional harmony of a song...
They create a certain feeling of chaos by temporarily building lots of tension
but then they are eloquently resolved back smoothly into the key. This kind
of lick ventures "outside of the key"... but then hopefully resolves back into
the key in a way that creates a dramatic resolution. Many of them are built
using "pentatonis scales", and even "fouth intervals" in very unusual ways.
They will be left to lessons still far in the future... One needs to learn to pl
ay
solidly within the traditional harmony before venturing outside of it. We'll lea
d
up to the outside patterns in a logical fashion, covering intermediate steps to
get us to that point gradually, enabling us to use this type of pattern in a ver
y
artistic fashion. Too many players simply plug in these licks in a mindless and
random way. They should be used correctly, or not used at all...
Well as I said... I'm treating you as an intermediate player now. You can
start entering both the preliminary type patterns and exercises into your
new notebook, as well as the really good useable authentic jazz licks you
get from all the sources I mentiond in both lessons 46 and 60... Now is a
good time to thoroughly review all the lessons, and the sources, and then
get busy with this notebook. Later, I'll get you to start a second notebook
for transcription, as well as written solos for some common song forms...
By the time we get there, it will all make sense and be fairly easy as well.
One last point... I would go ahead and get the books, "Twenty Eight Modern
Trumpet Solos", (Volumes 1 and 2) and also purchase JA Volume 54... titled
"Maiden Voyage". We'll start playind some great songs from there very soon
too. You'll soon have enough repetoir to actual play three sets in public then,
using nothing but Aebersold tunes. Think about that for a minute!!!
Be sure and get the two books and JA's Maiden Voyage, and you're rolling!
Also go through every souce mentioned in Lessons 46 and 60 and get all the
possible preliminary and useable patterns that really appeal to you. Be very
methodical and go through each JA volume and the Coker Patterns book too.
Remember those heads, including all the blues heads, are great sources too,
and I bet you 'hear them all' already too! Take your time, this is just for you!
You need to buy "Twenty Eight Modern Trumpet Solos" Volumes 1 & 2, and
also please get JA's Volume 54, "Maiden Voyage" right away. The two solos
books contain fifty six great and famous trumpet solos... They are a wealth
of patterns and ideas that are worth their weight in gold!!! Volume 54 is full
of great songs, that'll continue at the appropriate difficulty level from where
we are now in these lessons... Again, let me say that by the time you learn
the songs in it, along with all the others in your current JA collection, you'll
actually have enough JA repetoir to play an evening at a club!!
The V chord......... E dominant 7............... often with +9, -9, +5, -5, or +
11
The VI chord........ F major 7
The VII chord...... G dominant 7............... or even G# fully-diminished 7th
As most advanced improvizers know, there is more to this subject that will
be covered later on, but for now you have all you need to cover the rest of
the JA volumes we are currently dealing with... Volumes 1, 2, 3, 5, and 54.
Just to give you something to chew on, that has only been briefly discussed
before, I want you to notice again that the II/V7/I progression that you will
often see in major keys, also has its counterpart in minor keys. For example
in the key of A minor, it would usually appear as:
B half-diminished 7, E dominant 7+9, and then A minor 7. (You've already
seen this type of chord progression in some Aebersold tracks. In the minor
keys, we refer to this as the II/V7+9/I progression.)
Well, now you have it. I may introduce a new scale or two along the way,
but if you fully comprehend all the information I've dished out so far, you
already have an extremely solid foundation for a lifetime of jazz playing!!
You have covered enough to last most serious students of improvization a
very long time. At minimum you are ready for at least a year or two. After
that you'll be an advanced player... studying advanced material. Review it
all until it gradually becomes part of you!! Just a little bit each day adds up
over long period of time, so don't stop! The time will pass, and you'll be so
glad you stuck with it!
The harmonic minor scale produces an unusual sound, that is very useful to
a jazz improvizer. It sounds a little Egytian, or Spanish, or Italian... or even
a little Jewish depending on how it is handled. In the key of A, this harmonic
minor scale would be the notes A, B, C, D, E, F, G#, A. You should play with
this scale just a bit right now to see what I mean about the different sounds.
Another interesting thing the more advanced players might notice, is the fact
that the "altered chords" mentioned in Lesson 64 above almost all come from
diatonic chords built and then "borrowed" from this harmonic minor scale!
I.............A, C, E, G#.............. the A- chord with a "major 7th"
II............B, D, F, A................. the B half-diminished 7th chord
III..........C, E, G#................... the "rare" C+ augmented chord
IV...........D, F, A, C................. the typical, unaltered IV chord
V............E, G#. B. D............... the V chord, now a dominant 7
VI...........F, A. C. E.................. the typical, unaltered VI chord
VII..........G#, B. D. F............... the fully-diminished, built on +7
Intermediate level students may compare these "altered chords"
to the chart in Lesson 64, and notice how they're all derived from
diatonic chords built from the example "A harmonic minor scale".
When you see some strange looking chords in minor keys... and
wonder where they came from, the answer is nearly always that
they were constructed using this harmonic minor scale.
Chords built strictly from the pure minor scale do not work well in
modern jazz, but those built from harmonic minor do. It would be
a little hard to explain it all, but trust me, this is why we see many
altered chords in minor keys, and this is the scale we get them all
from. And, one last point I'd like to make. When you see all these
chords being used, that harmonic minor scale is a great choice for
the improvizer to use over them.... I'll give just one example. The
II/V7+9/I progression can be handled well... using minor/ blues as
I told you before. But using the harmonic minor through the chord
progression will often sound even more "right".... In fact, you may
think of using the 2nd, 5th, and 1st "modes" of the harmonic minor
scale, just as you'd think dorian, mixolydian, and ionian in a major
key. It works exactly the same, just using harmonic minor instead.
This is a really great way to handle the II/V7+9/I progression, in a
minor key! You won't sound Egyptian in this context, but you might
want to "walk like an Egyptian" anyway. If you don't know the joke
I'm making, it's probably better. It's a pretty bad joke...
The jazz improvizer is only concerned with the ascending form. We refer to it
as the "ascending form of melodic minor". Perhaps you have seen this phrase
and wondered what it meant... This scale is often used over minor chords that
have the "major 7th" added, like the altered I chord often seen in minor keys.
It has other uses as well, which I will introduce you to at the appropriate time
.
For the sake of completeness... I'll summarize all three of the
minor scales we've covered, in "formula notation" once again:
Pure minor scale........................... 1, 2, -3, 4, 5, -6, -7, 8
Harmonic minor scale.................... 1, 2, -3, 4, 5, -6, 7, 8
Melodic minor scale....................... 1, 2, -3, 4, 5, 6, 7, 8
Again, we are only concerned with the ascending form of melodic minor. So
there they are, all three of the classic "minor scales". They are variations of
the aeolian (or sixth) mode of the major scale... Pure minor is just the same
as aeolian. Harmonic minor is the same as pure minor... but with the "raised
7th step", and melodic minor has both the "raised 6th and 7th steps". As you
can see... all the scales we've ever talked about are simply variations of one
another. Once your major scales are utterly mastered, all the others fall into
place like a line of dominoes... Learning licks built from these scales will als
o
become very easy for you as well. You don't need to learn all these scales at
this time. Just review, and be sure you understand how each is constructed.
THAT!! At that point you simply play what you hear. This is realistic,
and it cannot fail if you simply STICK WITH IT!
5. The Locrian Scale (or mode): We have discussed this scale before.
It is the seventh mode of the major scale. It is most often used with a
half-diminished 7th chord. One Example:
B, C, D, E, F, G, A, B.
6. The Major Bebop Scale: This is the same thing as a major scale but
with a raised fifth step added... It is use with the common major type
chords. One Example:
C, D, E, F, G, G#, A, B, C.
7. The Dominant Bebop Scale: This is the same thing as a mixolydian
scale but with a raised seventh step added. It is most often used with
unaltered dominant type chords (with no #4, #5, b9, #9, etc...). One
Example:
C, D, E, F, G, A, Bb, B, C.
Now remember, I don't want you to start working on all these scales unless
you happen to be quite advanced already and determined to go all the way.
Most folks who have gotten this far need to clarify their personal jazz goals
just a bit... so the next lesson will be about that. Then we're moving on!!
I'd like to address one more thing... The way I've been teaching has been
simple and straightforward, but at the same time very complete. It is done
in a way that would take a total beginner, building a very broad foundation
of knowledge and skill... to the very advanced position of being able to play
the jazz improv spot in a professional big band or combo. He'd then be able
to take a chart he's never seen before, quickly analyze the chord changes,
and then immediately play a very artful solo the very first time through.
But what if your goal were more like this? You really just want to be able
to play in a high school or college big band, and be able to work on a solo
at home for a few days and then come back and play a decent solo. Well,
this is a goal that is much easier reached. If you're in this lesson because
you've already gone through the previous lessons, and have control over
that material, then you're already at a low college improv level right now.
Here's another thought. Suppose you're out of school, and you'd just like to
have a repetoir of 30 songs you can play and improvize nicely on in a small
combo... Maybe you just want enough skill to jam on thirty songs with some
friends in a club. Well this is very doable right now too! I'm about to analyze
another dozen standards and ballads very quickly for you that will bring you
to the level where you'd be able to do that yourself as well, and easily learn
to solo quite well on thirty intermediate difficulty songs very quickly!! If you
have followed me to this point, you're almost to that point riight now! What's
really nice about this approach is you only need to learn the scales & enough
licks to play "THOSE THIRTY SONGS"... and you only have to learn material
in the keys needed for those songs as well. This is about a tenth of the work
it would take to become a pro, playing every solo artfully the very first time
he sees a new chart. Perhaps your goal is somwhere in the middle... Decide
where your goals fall in this continuum. This will help more than anything.
Some folks out there just need to start getting their song lists together now,
and then just simply work on their 30 favorite standards, ballads, and blues,
and they're all ready to go. What are your goals? The answer to this is what
should dictate your own personal path... I will continue to write in a way that
will help people with goals anywhere along this spectrum, to achieve all they
desire from jazz improvization, from the hobbyist to the professional...
each bar line. Don't label the measure with the pickup notes. The first full bar
will be the whole note A, under the D- chord. Go ahead and label all 16 bars.
Now we'll start with measures 7-9, the II/V7+9/I progression in D minor. The
first scale to try using here, is the one printed below that "E half-diminished"
chord. It is the E locrian scale (or mode) mentioned in Lesson 68 as working
well with half-diminished chords. You'd use it only in measure 7 for now. The
next scale we will use will be the "diminished/whole tone", also mentioned in
Lesson 68 as working well with altered dominant chords... You'll use it only in
measure 8 for now. These are the two scales JA always suggests for use with
the II/V7+9/I progression in minor keys, and that is all the the scales we will
cover in this lesson, but I will discuss this progression a little more...
The II/V7+9/I seen in measures
II/V7+9/I" in earlier lessons.
nly
one measure (or one bar). BTW,
Just use the two new scales in
old friend, "the D minor/blues
each time you play Groovitis in the future, experiment with these new scales. Al
so,
do be sure to write in the D harmonic minor scale under measures 7-8 just so you
won't forget. If you'd like to use this scale just a bit more, I will tell you t
hat it can
be used throughout the whole song, just like the other 'minor type' scales befor
e...
(except for those last two measures) but just keep all these new scales I've giv
en
you for use with Groovitis only, at least for a while...
The very next blues track in Volume 5, is also in E minor, and is also a very
suitable track for using the E pure minor scale with. Let's take a look!
............VOLUME 2, NOTHIN BUT BLUES, TRACK 7, HOME STRETCH............
This blues should be pretty easy to understand, especially now that we have
discussed the II/V7+9/I progression seen in the minor keys. This whole track
can be handled with the E minor/blues or the E minor/pentatonic scale. It can
also be handled using the various dorian (and other) scales JA suggests. The
only suggested scales I'd avoid... are in the "one bar minor II/V7+9/I" chord
progression in measure 10... It just goes by so fast, that I would simply keep
on using one of the "minor type scales" and just blow right through it!
This track,
nor
scale with.
the 9th bar
t
play the F#
.
like the one before it, is also a perfect track to use the E pure mi
The only measure this scale might not sound too good with would be
with the G7 chord, but even there it wouldn't sound bad... Just don'
in that measure, since it clashes with the F natural in the G7 chord
What elese is there to say? These tracks are stating to look pretty easy, aren't
they? Add this song to your repetoir, and do experiment with all the scales I've
mentioned, including the E pure minor. Well, that's it! You know what to do!
st
frustrate and even hurt you in the end, so just TAKE YOUR TIME, and digest all
the information fully and master all the skills thoroughly. You'll be glad you d
id!
The lessons get shorter, the farther you progress... You are an intermediate
level player already. You're able to analyze basic songs now, and you should
even be able to know what scales work with each of the chords you now see.
In real jazz sheet music, one gets to see the chord symbols, but there are no
suggested scales beneath them. It is assumed that you will know what scales
work with the various chords and progressions... and all scale choices are left
up to you. Nobody tells the soloist what to play! The jazz improvizer is a very
respected member of any band, and he enjoys the right to play whatever he
chooses!! Lead players and jazz soloists are the most important guys around.
Being a jazz improvizer is an honor. We are continuing a truly noble tradition!
We should be proud of this. It sets us apart from all the rest!!
Volume 5. It's even in the same key as "Groovitis" which is very convenient.
I gave my instructions for Groovitis in Lesson 54 and also gave tips on how to
handle the minor II/V7+9/I progression in Lesson 71 and Lesson 72..... These
three lessons should tell you everything you need to know in order to play this
minor blues. Review them if you need to. I'll now assume that you understand
all previously covered material, so be certain that you fully comprehend every
lesson before moving on. This is very important!
So here is how I start to help you the most, by not giving you any more help
with this song. It has chords and progressions that are all found in a song you
previously studied, and you'll simply review those lessons I cited above if you
aren't already able to start improvizing to this minor blues already. You must
gradually become more and more self-sufficient!
I'll continue providing all the guidence you need... and I'll even frquently ref
er
you back to earlier lessons that you might need to review, but you need to do
more and more for yourself. Look at this blues and realize that you don't need
any more help. All you need... is to apply all the things you already know!
You have all of JA's suggested scales written there for you right now, but in th
e
world of the jazz improvizer, there are no scales written in, only chord symbols
!
Bottom line is... I'll spend less and less time on the basics now and assume you
have that stuff covered. Any time you feel confused, it's because you're moving
too fast! Please go back and review earlier lessons, and only check them off the
review list (you have one of those, don't you ) when they are fully mastered.
I'll stop with the blues tracks now... and go back to finish up all the rest of
the
songs in Volume 5, "Time To Play Music"... Then after that we'll cover all of th
e
songs on Volume 54, "Maiden Voyage". Counting all the blues heads you have
learned, from Volumes 1 and 2, and all the songs from Volumes 5 and 54, you
will already have a repetoir of over 30 songs you could perform. That would be
enough material to play three or four full sets in a nightclub with a combo!
As I mentioned in some recent lessons, this is the point at which you decide
if you just want to play as a hobby and only be able to work up the ability to
perform improvized solos on specific songs... or if you want to go all the way
to being able to play artistically on almost any song, the first time you see it
,
or even sometimes... simply hear it!! In any event, you all needed everthing
I've presented so far. Both groups of students can continue to progress with
this as far as they want to go. I will continue teaching all the more advanced
theory as it comes up while covering more and more advanced songs.
You need JA's Volume 54, "Maiden Voyage" next. You will be covering ground
more quickly now as each new song is built from the same building blocks you
are already familiar with. Like any other course of study, you'll be increasingl
y
able to learn more material all the time as you master the earlier material. All
the pieces of the puzzle just start falling into place faster and faster the clo
ser
you get to achieving "the big picture". And once you get there, everything will
start to look very simple! Your ability to improvize jazz is absolutely one of t
he
most valuable things you will ever learn... and once you have it, it will always
be there for you. I love jazz so much, I couldn't imagine a world without it!
GO ORDER VOLUME 54, MAIDEN VOYAGE!
Here is how to approach it. First of all, you must realize that this is a long
term project, that should be started VERY slowly... and gradually speeded
up over several weeks, or even months, before you'll be able to deal with
the very fast tempo. However, there is some good news!! The chords and
scales are made of the exact same material you've already been studying.
Also, once you do get this up to speed you'll know these tempos really are
attainable, and breaking into the "bebop zone" will carry over into all your
other playing as well. Other songs won't seem nearly so fast after you get
used to this!
I'll pause
project in
and it can
who really
now for a moment, and then post all the details regarding this big
the following lesson. Remember that this track is optional for now,
(and probably should) be returned to at a later date. But for those
love a challenge, here comes a good one!
Bars 4 and 5 make a complete 'one bar II/V7/I chord progression' in the
key of C major. Some perfect licks for this short progression are located
in the Jerry Coker Patterns book on pages 91-93. You will of course need
to transpose them for use in this key. There are four great licks there, all
suitable for these measures... and all are good enough to be in a patterns
notebook as well. Put them in your notebook now!! You'll probably want to
transpose them all into the key of C before you do, which is just fine since
that's the key you need to plug them in for this song anyway!! Use all four
of those licks in these two measures. Again... it will help you to "hear" this
very important progression. Go ahead and plug those licks in at this point,
and it will connect everything smoothly and help train your ear at the very
same time!
Bar 6 is C-7...... Use that C dorian scale there, or a lick if you dare!
Bar 7 is B-7...... Use B dorian in bar 7, or a lick made in heaven!
Bar 8 is Bb-7.... Use Bb dorian, or some licks even morian!
I know... That was pretty bad. Sorry about that, but I'll make up for it now.
Here is something you can do in the last three measures... 6, 7 and 8, that
is just soooo cool, you'll forgive all my puns and poetry! If you use a short
minor type lick in bar 6, try repeating it in bar 7 exactly as before, but in B
minor, then again in bar 9 in Bb minor. Just transpose the same lick into all
three keys as you play over the three chords! You'll love this, I promise!
Bars 9 and 10 form a "two bar II/V7" that really sounds and functions more
like I and IV chords in A minor, so again you'll 'think dorian' as before, and
simply play the A dorian scale right through those two measures. There are
also some nice licks in the Coker book that would work well in these 2 bars.
They are 'two bar II/V7 licks' that do not resolve to a I chord, and therefore
are perfect for the job... They are on pages 97-100, and the very best ones,
in my humble opinion, are #144, #145, and #148. Again I'd transpose them
into C before entering them into your notebook, then transpose them into G
for use with the II/V7 progression in measures 9 and 10. Again, these don't
resolve to a I chord, which makes them ideal for this situation!
Bars 11 and 12 form a chord progression we haven't dealt with yet called a
turnaround. Perhaps you've heard of this before but didn't know what it was.
There are patterns designed for this two measure progression which we will
certainly study later, but for now we will handle it with a more basic method.
Each of these two measures is again a 'one bar II/V7 progression', and both
can be handled as before with one dorian scale for each bar. Measure 11 will
use the B dorian scale, and measure 12 will use the A dorian scale resolving
this time to the Major I chord in Bar 1... There are also some patterns in the
Coker book that can be played over these "one bar II/V7s" and they are on
pages 85-90. Some that seem appropriate for starting out would be patterns
#126, #131, and #134... It would again be a nice effect to use the same lick
on each of these last two measures... transposed to fit the two keys. (This is
how many turnaround patterns are actually constructed, and playing the two
measures this way will help you to "hear" this new 'turnaround' progression.)
That is the whole 12 bar blues "Bird Blues"... Now you can see why I was
reluctant to cover it so soon in your developement... If it seems too much
of a challenge at this time for you, feel free to just skip it. If you just love
a challenge and are VERY patient, then just go VERY slow and ignore time
and tempos for a while, to get comfortable with the scales and patterns.
Later, still going VERY slowly... you would begin keeping a strick beat, and
absolutely nail every single chord change. You'll probably need to do it this
way for weeks... then very gradually increase the speed, day by day, until
faster tempos are reached. It will probably take a couple of months before
you are able to play this up to speed with the CD background. It's all up to
you, but once you can play this one you are well on your way to becoming
an advanced level improvizer! Again, this track is entirely optional...
Well, whether you take on Charly Parker at this time, or just hold off a while,
at least we have covered every track on Volume 2 now... and you know how
to tackle a song such as this!
Now you should have every pattern that interests you from Coker's pages
4-31, and 85-100 entered into your notebook. I've also suggested taking a
lick or two from "Bird Blues" and "Groovitis" to put in the notebook as well,
and also some minor blues type licks... from those suggested in Volume 2,
page 3, as well as all the various "blues heads" in both Volumes 1 and 2. It
would be a good idea to go through every single head you studied so far to
extract every pattern that appeals to you. Most won't seem so great, but a
few will really grab you. Get those into your notebook, in their appropriate
places, and then your notebook will already have a very good foundation!
It's a a good idea to write in your basic scales as preliminary patterns too!
After all, just playing up and down the scales with a little rhythm is a great
place to start!! Write in scales in their appropriate categories too... such as
major type patterns, minor type patterns, minor II/V7+9/I patterns, cycle
of dominants, altered V7/I patterns, and pentatonic patterns.
When you've absolutely exhausted all your current sources of licks, come
back and check out the next lesson for even more patterns and ideas...Do
be sure to get Volume 54, "Maiden Voyage", and the two solo transcription
books, "Twenty Eight Modern Trumpet Solos", Volumes 1 and 2. Then you
will have 56 great solos to extract licks from as well.
the others may be the ones you prefer. My philosophy is to always let you be
the final judge of that.
Page36, "Diatonic Chords". I didn't use the same name for these as Coker...
and that's OK. I'd probably enter these into the "Digital Chord" section of the
notebook. If you like pattern #79 for instance, you can just enter the first six
or twelve notes into your notebook and that would be enough to give you the
idea. I only enter licks into my notebook one time, in one key, and that's all.
Pattern #81 is a nice one, also #84 and 85. Pages 41-49 just review theory.
Page 50, "Dominant Chords and Scales". I would enter these patterns into the
"Cycle of Dominants" section in the notebook. The patterns there are basically
used with unaltered dominant type chords... as they are built from mixolydian
scales and the unaltered dominant type chords themselves. I like pattern#88,
#95, and variations of #97. After you get used to seeing how the various licks
are constructed (using their corresponding scales and chord tones) you should
be able to create better, more interesting variations of them yourself... as wel
l
as compose new original licks too!! Pattern #99 is a good preliminary exercise
type lick, especially with the root movement suggested there... Most dominant
chords function as the V7 chord in a key, and resolve up a fourth to a I chord.
The phrase "cycle of dominants" refers to dominant chords that resolve up by
fourth intervals (same as down by fifths). Some people will call it the "cycle o
f
fifths" for this reason. When you practive dominant patterns it's best to use th
e
root movement suggested with pattern #99, up by fourths in order to get used
to hearing this common characteristic resolution. You'll also notice that on pag
e
61 it is suggested that many patterns can be altered to fit a variety of differe
nt
chord types... You might find some major typs licks that would work well along
with dominant chords, sometimes requiring just a little altering. All the patter
ns
that are digital in nature will fit into this category for sure... Feel free to
change
any lick to make it more appealing to you, or to make it fit with other types of
chords, etc. This is all up to you. Don't worry about the fact that there are on
ly
a few patterns in each section. We'll get many more patterns in the future from
many different souces... These are just meant to get you started, and they are
perfect for the job!
Page 62, "Minor Type Patterns". These are built from minor chords and scales.
I guess this comes as no surprise. Some good, but generally preliminary type
patterns, might be #106 and #111, and maybe variations of #113. Some licks
from the major category could easily be altered to fit minor chords too... but I
bet you already have quite a few good minor type licks taken from Aebersold
material already!
Pages 81 through 84 review some music theory you're already familiar with...
They discuss how chords can function within various keys. You will remember
the minor and dominant chords that appear in II/V7 progressions that can also
function as I and IV chords in minor keys... This is just one of many examples.
As you progress and begin analyzing jazz tunes on your own, you will have to
take into consideration what key the various chords are functioning in, before
you can know what scales and licks would work best with them... This is done
by considering the surrounding chords, as it's not as hard as it sounds. Just be
patient, you ARE getting there!
You should go back and read everything in the Coker patterns book through
page 100 one more time, being sure to spend lots of effort on anything that
still seems a little fuzzy. If this stuff is a bit confuzing even with my lesson
s,
just imagine how it would go without them!!! Just continue reviewing until
you're sure you have it all. You have now covered every track on Volume 1,
every track on Volume 2, half of Volume 5, some of Volume 3, half of Jerry
Coker's patterns/theory book, and a ton of theory and strategy from me!
Now is a good time to go back and review everything from this and all of the
previous lessons. Make certain you have your patterns notebook complete up
to this point, with everything I've been suggesting in it (quite a few licks, fr
om
every single source we've talked about), and make sure you continue playing
along with Jamey's boys regularly and keep working on those scales! (not the
recent seven "new scales" from Lesson 68, but all those from before). If you
are simply planning to play jazz improv just as a hobby, you're almost ready
to go already. If you want to become a true advanced level jazz artist... then
you have already built one heck of a good foundation to do it from!
1.....
2.....
3.....
4.....
5.....
Use any
Plug in
Resolve
Plug in
Resolve
17.....
19.....
21.....
23.....
go ahead and start using A dorian during Bar 20! It'll sound like it's 'outside'
of
the key for a moment, almost like some "wrong notes". Then when the chords
change to A minor the effect it like a very nice resolution! Tension was built u
p
by the use of notes outside the key you were in... then a release was felt when
the chords changed... and those odd sounding notes suddenly became the nice,
"good sounding" notes! Do this same thing again in measure 24. There you will
begin playing the next G dorian scale a bit early, creating the same effect!
This would be your first excursion "outside the changes". If you have heard the
expression, "playing outside the changes" before, or simply " playing outside",
this is the kind of thing this refers to. There are other ways to "go outside" t
oo,
but this is a good one. I call it "anticipating the next key" for obvious reason
s.
There are a few more measures in this song I could address (Bars 25-32), but
they are just so straightforward that I can't even bring myself to talk about an
y
of them with an intermediate level player like yourself.... If you aren't jammin
g
with friends yet, along with these Aebersold CDs, you need to go out and rustle
up some action. Drag some aspiring players over to the house!! It sure is more
fun with friends there. Have a jam party! You have to do this or else you're jus
t
playing with yourself! How much fun could that be?...
Now emphasize those notes I suggested over the D7 and C7 chords, and do try
this "anticipating the next key" business. This one tip alone is worth a thousan
d
bucks! So just make those checks payable to...
17.....
19.....
21.....
23.....
Bb minor/dorian
Ab major scale
Bb minor/dorian
G minor/dorian
The riffs in the melody are so nice, you should use them with variations
in many places. I think the last four measures (Bars 13-16) are good to
use just as they are. This song should be memorized so thoroughly that
you can plug in bits and pieces of the melody all over the place. Its very
helpful to always keep the melody in mind. This technique works well for
all jazz tunes, and you should feel that it's OK to draw freely from heads
to get material. Let this song be the one you use to learn to do this with.
This completes Volume 5. Do get Volume 54 next, "Maiden Voyage", and
be sure to get "Twenty Eight Modern Trumpet Solos", Volumes 1 and 2!!!
We'll be working more in Volume 3, "The II/V7/I Progression" as well.
so it would be a good idea to start studying the material presented there. It's
really pretty much just a one page intro, but read and study it none the less...
I'll be back with more soon, so review this lesson and also JA's intro!
those licks at the top of page 39 (patterns #57-#64) are really nice. I guess I
just really love that HW diminished scale!! And, from the licks using the whole
tone scale (patterns #65-#72) I like #66, #71 and #72 the best.
We'll leave it there for now. I want you to notice my suggestions that a riff
from one lick might be combined with another lick to improve it.... and also
how you can change rhythms to suit yourself. I like to insert triplets making
some patterns more interesting, and delay them so they don't start right on
beat one all the time... You can change, alter, or make variations of them in
any way that sounds good. Adding chromaticism is very nice as well... Later
on, some of the licks you hate now could become some of your favorites, so
come back to them from time to time and see if more of them don't grow on
you as your palate develops. Some of these more complex scales are like an
aquired taste. Sometimes you have to hear them in context, with a harmonic
background in place before you really hear how they work. I often like much
of a certain pattern except for the final resolution. You can take some of your
favorite "major type patterns" and mix and match them with the II/Vs, if you
feel the same... You may just want to cut off the final resolutions from some
of these patterns, and just leave them open. I've been improvizing for about
thirty years, so my estimation of which licks are good ones (especially for us
trumpeters) should be pretty reliable but it's all up to you! So experiment by
playing these patterns to see which ones you like the best, and have fun!
Put any or all of these patterns into your notebook now. Feel free to make
alterations and do use a pencil so you can edit freely later on. There is one
more thing I'd like you to do, and that is to go back through those last four
songs we learned in Volume 5 (Lessons 84 through 87) and extract patterns
that appeal to you from those four heads, and put them into your notebook
in their appropriate categories as well!! I hope you've been taking all of my
suggestions to do this with every single head we've worked on so far!!! This
is very important and I don't want you to miss out. Since you have already
played them so many times they are firmly rooted in your mind, and they'll
will be good ones to put into your collection. Now get to work putting licks in
your notebook right now! Once they're in the notebook, you'll have them for
the rest of your life!
Do the same thing with all the chords as well... Just play them up and down,
but add a little rhythm to each, turning it into a lick. They would probably be
too boring to actually use as a lick in your improvizations right now but later
on you'll vary them even more, and then they WILL become very useful too!
If you have been following my instructions, you should have at least a few
licks now in almost every category of your notebook, and probably quite a
few in your "Major II/V7/Is" and "Minor and Blues" categories especially.
You need to be able to play all the basic scales and chords, in all 12 keys,
and you also need to be able to play at least one good jazz lick from each
of your notebook categories in all 12 keys as well... Don't worry about any
categories that are still vacant; we'll get to them soon. This is probably the
most important thing you can do to move on to the next level. LEARN ONE
REALLY GOOD PATTERN FROM EACH CATEGORY FOR USE IN REAL SOLOS!
We will start using them much more now that we have before. Pick one real
jazz lick from each group now for this purpose. Start with ones that are fairly
simple but that appeal to you musically. Practice them in the easier keys first
then start "plugging them into your solos", as you play with Jamey Aebersold
play-along tracks... You might just start going through the songs you've been
playing already, and use these licks in just the keys needed with these tunes
at first if you like... This'll help you get a feel of how each really sounds to
o!
So, make sure you have those "preliminary chord and scale type exercise
patterns" in each section, along with all the great real jazz licks we've been
collecting lately in that notebook of your's. By this point, if you don't have a
notebook like this going on, you're just kidding yourself, and further lessons
will be VERY difficult... Get this notebook "all the way up to speed" and start
picking out just a few perfect licks to start "plugging in" all over the place.
I
can't stress all this enough! I'll be back with more, and soon we'll blow right
through the rest of Volume 3, and then Volume 54 will be a breeze!
t try
playing licks #22, #24, #27 and #28. The intervals involved make most of these l
icks
quite difficult to perform (on the trumpet) but not impossible, as has been well
proven
by players such as Freddy Hubbard and Woody Shaw.
Patterns #29-31 are built using the two major triads that just happen to appear
within
the diminished-whole tone scale... When playing these kinds of patterns, think "
triads"
instead of "scale". This kind of playing is most often employed by sax players a
nd the
other musicians playing instruments less encombered with flexibility difficultie
s. Again,
they're deffinitely not impossible, but hold off on putting these in the noteboo
k for the
time being. Later, you can come back and revisit them, and snag 'em then if you
like!
Alright, patterns #3, 6, 9, 13, 14, 15 and 20 are the one's I'd start out with a
nd put in
my notebook. Experiment with others from patterns #1-20, but remember the others
on page 42 can definitely wait. If you're an advancing player, of course take an
ything
you like from there as well... ... Go ahead, take 'em... nobody's lookin'...
here, in the key of C minor, and experiment with them some. These really
are good patterns using these two scales, but I'll be back in the next lesson
with three or four other great ways of dealing with this progression as well.
using, just as many major II/V7/I licks begin on the second tone of the major
scale being used with them. I also love to use the key's minor/blues scale with
these changes too. I will usually use it over the II/V7+9 part, but then resolve
to a dorian scale to help release the built up tension. Remember that this chord
sequence can resolve to major chords as well... or even substitute for an entire
major type II/V7/I progression! You always need to consider where and how a
progression is eventually going to resolve.
Well, there they are... three more excellent ways of dealling with the often ver
y
tricky minor II/V7+9/I chord progression. Many players think of this as difficul
t,
but using any of these three methods will really simplify things, and they will
all
sound great! This is another lesson worth a thousand dollars all by itself... so
be
sure to make those checks payable to...
on the very first line, at least you can begin getting used to their sounds. Do
this right now and experiment with them just a little every time you practice
this track. Of course the main thing to do with this track is to plug in that li
ck
all over the place and experiment with the suggested diminished-whole tone
scale a little bit in the manner described above: Up and down from the root,
and then always resolving back again to the same starting note.
Track 4, as it's labeled in the book, concerns the entire II/V7+9/I sequence,
and you should certainly use it to play your first simple appropriate patterns
with it in each key. You may also experiment with each of the other ways of
handling this progression that I discussed in Lesson 93... These ways include
using a major II/V7/I pattern (borrowed from the relative major key... three
half steps above), substituting your first "altered dominant" lick that you just
used in the previous track, and the use of the various minor type scales that
work throughout the entire progression. I know I told you I personally prefer
these other ways of handling this progression. You might like them better too
or perhaps not... But do learn at least one of Jamey's II/V7+9/I patterns and
try it, as well as experiment with the other strategies I've suggested too.
A brief (but important) note... The scales used with these progressions take
some getting used to. I don't want you to get bogged down at this point. The
next Volume we'll cover after this will be quite simple, and you will not have
to master all this in order to cover it... These two tracks should be done littl
e
by little over a long period of time. These scales and licks require more time
to get used to than those we've used so far. Don't get hung up here and feel
you can go no further... Just keep coming back to visit these tracks with their
unusual sounds, and get used to their scales and patterns very gradually. It'll
often take months before you really feel you have them under control. This is
one time when I definitely won't say you have to master anything before you
move on to the lessons that follow.
Just keep coming back to these two tracks from time to time and experiment,
but do learn a very basic lick for each of these two sequences in all 12 keys...
I'm just asking for one lick each, for these two progressions, and they should
be very simple ones!! DO NOT GET BOGGED DOWN HERE. MOVE ON, BUT DO
COME BACK, AND CONTINUE EXPERIMENTING WITH ALL OF THIS FROM TIME
TO TIME. The last few lessons are fairly advanced in nature, and some people
flounder here, thinking it has to be mastered before going on, and then they'll
quickly become discouraged.
You can learn a hundred more songs without worrying about mastering all of
this more advanced material. I just cover things very completely while I'm on
a subject, so that you will have it all permanently in a very organized way. All
you really need to do for sure, is pick a very simple lick for each of these two
progressions, to learn and use in upcoming situations... Keep it simple, and do
come back periodically to review and experiment. It will keep sinking in more
and more each time you return. This recent theoretical material and just a bit
more about the 'turnaround patterns' I've mentioned, will take you all the way
through the second year of study, at which point you will truly be an advanced
level player. It just takes short but consistent daily practice and study to kee
p
your momentum going. And believe me, it WILL continue moving forward!
en
given, along with places to try each one out in the play-along tracks. However,
do
notice that I still haven't asked you to learn any of these in all twelve keys!
I only
want you to learn and use them in the keys needed for those particular situation
s
to get you used to each of their sounds for now, and that is all.
You may want to go back through the lessons from time to time and make sure you
write in the scales I have suggested for practicing with each individual song su
ch as
this one right here. Three new scales fit well here... "major bebop", "melodic m
inor"
and "HW diminished". This song is perfect for this kind of experimentation... Le
t this
be the reason for practicing it, just getting used to the sound of these new sca
les!
key
of G for trumpet players. It follows the "AABA" song form I've mentioned before,
with the A section repeating, followed by a B section (bridge) then a return to
the
A section once more. This is a VERY common format that many songs follow.
The blues sections are basically identical to Tracks 4 and 10 from Volume 2, tha
t
"Nothin But Blues" set, so there's not much to discuss there... except that I wo
uld
strongly suggest using the G minor/blues scale whenever you hear it... especiall
y
over measures 11 and 12. The bridge is a very common one, and can be handled
very simply as well. It is a series of II/V7 sequences, that function more like
I/IV
progressions in minor keys... so you'd use the "think dorian" method I often ref
er
to here. In other words you would use the F# dorian for two bars, then a B doria
n
scale for two, the E dorian for two, then A dorian for two.
There you have it! This completes our discussion of Volume 2!! This volume shoul
d
be returned to on a regular basis. It's a very good "workout" type session, and
it is
meant to be just that! The songs have no melodies with them, and are meant to be
exercises instead of real songs one would perform in public... Keep returning to
the
tracks here periodically and you'll reap huge benefits. Neglecting this volume w
ould
be a BIG mistake if you want to go far... So keep practicing, and do be patient!
!
,
contiue to pace yourself and play everything as perfectly as possible. It's poss
ible
to work on all aspects of legit trumpet technique using only jazz materials. I'm
not
saying you should stop using any legit materials at all... but if one simply wan
ts to
maximize their efforts to benefit jazz they COULD take this kind of approach, wh
ile
continuing to work on their trumpet playing all at the same time! It just takes
a bit
of creativity. But hey, if you're a jazz player, you better be the creative type
!!
Here's another idea for you. Do you have to actually have a trumpet in your hand
s
to practice your jazz?? The answer is NO! There are alot of things you can do aw
ay
from the horn that will benefit your improv. First of all, you can practice your
scales
and other material mentally. I bet most of you already do a bit of this already.
You
can "finger your scales" without a trumpet. You could also mentally review patte
rns
this way, and even sing your jazz scales and licks away from the horn. In fact,
you
should do this all the time. Whenever I watch TV, I hum jazz ideas along with mu
sic
that's playing. Commercials are almost always accompanied with music, so use thi
s
to your advantage. Sing in the car, sing in the shower, sing to your dog!! You'l
l gain
from the ear training aspects almost as much without your trumpet as with it!!
You should try to do some work on your improv everyday! If you practiced jazz fo
r
two hours everyday, then obviously you could work on every single area of improv
each and every day... But regardless of how much time you devote to improv each
day, you need to be organized... to keep yourself on track and get the most bene
fit
from the time you do practice. You should make up a routine or schedule, that su
its
your personal goals and the amount of time you have for this... You need to work
in
certain areas on a regular basis no matter what. Here is a list you might want t
o use
as a guideline. Again, you will customize it to suit yourself. Begin by making a
list of
the scales and patterns you want to learn, and start checking them off one at a
time.
Then later... make a review schedule so you can keep your material until it beco
mes
a permanent part of you!!
Scales............. Not every scale everyday, just practice them in groups.
Patterns........... Same thing, work on just a few, and do work efficiently.
Improv Sets..... Pace yourself, take rests! Maybe just a few tracks daily.
Daily Study...... Study everyday as well... Study and review all the time.
Listenning......... Listen to some good jazz everyday, especially combos.
Live Jams......... Get with friends and jam, share ideas, and get inspired.
Repetoir........... Build up a list of "favorite songs" for live performances.
Remember to pace yourself when playing. Don't get so excited playing along with
a CD
that you forget to take breaks... and don't forget to use good technique with ev
erything
you play. There is no great hurry either. Go very slowly and let everything sink
in quite
deeply... Build a broad foundation that will provide you with a base big enough
to go as
far as you like... Master the fundamentals! Don't be in big a hurry to impress b
y playing
lots of notes. It's not how many notes you play, it's how beautiful the ideas ar
e!! Always
try to pre-hear your licks as part of a larger (and truly beautiful) musical ide
a!
the knowledge and skills presented so far, you're set to go as far as you like.
You have also created a "patterns notebook" that in time will be one of your
most valued possesions.... This notebook should have every lick from every
song you've learned, that really appeals TO YOU!!! You should also have the
best licks from each of the other sources of licks we've covered as well, such
as the patterns Jamey has provided along the way and the patterns from the
Jerry Coker patterns book. I strongly suggest that as you progress, you only
collect the very best patterns, again... FOR YOU! This patterns notebook is so
important. I cannot stress this enough!
You must be using some kind of schedule for your daily practice as described
in Lesson 98 above. You need a daily schedule... as well as a simple list of all
the scales and patterns you're learning. Use this list to check off each pattern
and scale as you go along. Don't kid yourself!!! Get completely organized and
work as efficiently as you possibly can. And once again, constantly go back to
review all your material. The use of a daily schedule, a scales and licks check
off list, and a constant review of theory and strategy... are the most important
bits of advice I can give. Continue playing all the tracks we've covered and be
sure to apply all that you've learned with those tracks... So keep reviewing all
the things you've learned, and get organized with the schedule and "check off"
lists. Don't be in any big hurry. Just make sure you MASTER all the basics!
Another thing these first few licks do for us is that they unlock the door for u
s
to be able to hear the new scale sounds. For instance: You might learn to play
a diminished scale, and even come to recognize its sound fairly well, but until
you actually begin using it properly (like a HW version used against an altered
dominnant chord, in an actual pattern that resolves eloquently) you'll not hear
how it actually works in a proper setting... You'd likely pass over several real
ly
good scales in your development, simply because you never really discovered
how to resolve them correctly! These scale sounds are the palate of colors you
have at your disposal, and they each deserve some very serious attention... If
you decide that some of these are not for you, then you are right to choose the
ones that sound better to you... To me, it would be silly for anyone to use scal
e
sounds that they themselves don't actually like... but some will "grow on you" i
f
given the chance. Their sounds mature and you will gradually find that they are
much better than you first thought, but that'll never happen unless you actually
use them a while, and probably in the form of some really good patterns!
Yet another reason that it is imperative to learn at least a few great patterns
in
each of your notebook's categories is that they will eventually become so much
a part of you that they will form the foundation of many variations that you wil
l
naturally evolve on your own. Once you have a lick or pattern fully internalized
,
it becomes very easy to make up variations of it, even right on the spot... Whil
e
the use of patterns may seem somewhat contradictory to the truly spontaneous
composition of melodies, they really are essential to the process itself. They w
ill
form the underlying skeletal structure of everything that truly IS composed righ
t
in front of your listeners very eyes (and ears)!
You will almost always be playing variations of your basic lick repetoir complet
ely
spontaneously AS YOU HEAR THEM RIGHT THEN AND THERE, and you will actually
hardly ever play these licks as originally learned... and the variational possib
ilities
are absolutely endless too. You NEED those licks! They form a well spring of ide
as
you'll be able to draw from, and the broader your palate of colors, the better!!
But
still, you should only collect the very best ones for you personally, and even t
hen,
they should only be used as a part of bigger beautiful musical ideas.
Your first patterns should be selected to simply get the basic scales and arpegg
ios
into your head, and under your fingers. The next ones should be more melodically
useful and beautiful at the same time. After that you need a few that use the mo
re
advanced scale sounds you need to allow to mature in your mind... Then after thi
s
it is all just completely up to you!
Once mastered, these licks and scale sounds will come pouring out spontaneously
in variations that require almost no conscious effort at all. You will be able t
o draw
upon this vocabulary for life. Do you want a large vocabulary? I do, but I do ag
ree
that we can become obsesed with this and miss out on the big picture... and that
is
all about creating some beautiful art... I've heard intellectuals speak who lose
their
audience with too much vocabulary, and this is often done by jazz players as wel
l!!
I've also seen beautiful paintings that were composed using only a very few colo
rs,
and this can also be accomplished by the jazz musician in a very similar fashion
!
These are artistic choices that each of us must make for ourselves, and they sur
ely
are very personal choices. But I do feel that having a small vocabulary can be v
ery
limiting, especially in certain styles, and having a large vocabulary is always
better.
It's all about how one uses this vocabulary. Do you simply try to impress by pla
ying
more notes than anyone else?! Should you simply plug in licks everywhere in publ
ic
performance in a way that is neither interesting nor artistic? Should you only p
lay in
a kind of "competition" with the musicians around you... or should you play in a
way
that even a layperson will find touches their heart?!! A little bit of dazzle sp
rinkled in
like spice is always effective. Too much of this, and we'll allienate our audien
ce!
Please read all of this again a time or too, and pause to reflect on each idea..
. We all
need the foundational collection of patterns I'm talking about. After that It's
up to you
how many more patterns you learn and master... Anytime I hear a lick in my head
or
through my ears that really appeals to me, I put it in my notebook. I may or may
not
eventually learn it in all keys, but at least I grab it and keep it this way. Ma
ny, I have
mastered in only a few keys each without ever putting them on any official "chec
k off
list" at all... I think it's pretty much the same for most improvizers. You will
decide for
yourself just how far to go with all this, and that is just exactly how it shoul
d be... but
building one's basic foundation of patterns should definitely NOT be optional.
Thirty eight songs is easily enough to go into a club with and play all night.
You can now actually gig with some friends. Think about that! Some of you
may be reaching your jazz goals right now. If you've just wanted to play a
little jazz in school, or as a hobby, you're already reaching your goals! You
might simply want to keep on getting better at this collection of songs, and
add on a few more here and there as we go along, or after a while you can
come back and really get serious about becoming a complete artist. It's all
up to you!
"Impressions" uses only two basic chords, E- and F-. You can use any of the
minor type scales here (minor/blues, minor/pentatonic, minor/dorian, etc). I
would strongly suggest using a little of each, and let all of these scale sounds
sink in very deeply. Coltrane would sometimes play solos lasting 30 minutes
or more and never once repeat himself!! I would experiment paticularly with
the minor/pentatonic scales on this track, and begin using some of the minor
type licks from your notebook.
!!!!!!!!!!!!!!!!!!!! IT'S TIME TO START USING YOUR PATTERNS !!!!!!!!!!!!!!!!!!!!
This entire album is perfect for this, and this is exactly what you should do
at this point in your development. Just start plugging in those licks all over
the place. You could easily learn to play just about every minor type lick in
your notebook in these two keys right now!! Stretch out with this track and
experiment. Coltrane found it worthwhile to play to changes like these, and
you can be sure that this track is worthy of much of your attention as well!
This is the kind of tune you can really "stretch out" on... You can take your
time with it, and learn how to develop your ideas with repetition, variation,
and the other techniques Jerry Coker describes in his book... "Improvising
Jazz" that I introduced in the previous lesson. Study that section on how to
build your solos effectively, and experiment with each of his suggestions.
The main thing to start doing at this point in your path, is to begin mixing in
the licks you've been collecting, along with your usual free improvisation! It
is time to begin using those patterns!!! You can decide which ones you really
love, and which ones are just OK... The best should eventually be learned in
all keys. You will decide which ones are worthy, but for now use as many as
you possibly can! That is what you should do with this entire album. This will
be the real beginning of your experience with the jazz patterns, so go ahead
and jump in now, and start "plugging in those licks" everywhere possible! Of
course, this is done for practice sake only. In public performance those licks
should be used more sparingly and artistically. During practice, however, it's
useful at this point to begin using the patterns as much as you possibly can!!
any of the previous blues heads you've played too... If you have the books
I've been recommending "Twenty Eight Modern Trumpet Solos".... Volumes
1 and 2, you will find quite a few blues solos there as well that you can take
material from. Don't steal entire choruses to play verbatum, nor even large
sections... Just take the very best licks! You can go through several of those
blues solos in these books and put the best licks into your own notebook for
future reference.
............... "COMPOSED SOLOS, and YOUR OTHER NOTEBOOK" ................
As I was learning this beautiful art and craft, I used to compose entire solos
for practice purposes using material taken from many of these transcriptions.
I would put them into that "other notebook" I've mentioned a few times, and
give them titles like, "Me and Lee", and "Riffin with Clifford", etc... You migh
t
want to do the same. That is the purpose of the "other notebook", along with
with being a place to transcribe other great solos as well.... So, it would be a
good time to compose at least one "blues solo" of your own this way and put
it into your own "other notebook" too... The solos you make up and write out
are not for use in public performances. They're just for practice purposes!
So, hopefully I have now gotten you to begin taking material from some great
artists to enter as licks into your primary patterns notebook, and also to begin
writing out practice solos of your own and put them into your 'other notebook'.
These solos you write could even be used as jazz heads... I suspect that many
of the great "heads" that players have written, using the chord progressions of
famous standards, evolved in a similar fashion.... Anyway, once you've written
out one good "solo/head", you are now a composer too! Of course, we've been
composing all along, but just not writing any of it down!
I can only point the way... YOU must do all the work for yourself!!! I suppose
how much of this advice you'll actually apply will be dictated by your personal
goals in jazz. You'll know the blues progressions in the transcription books by
their 12 bar form and their chord progressions. So, go get some patterns and
do a little composing if you dare! Take your time, and use any material at
all to write out at least one practice blues solo!! Do remember that this will b
e
your first entry into your "other notebook"... So, now you're a composer!
jazz predecesors, so let's use everything we can! There are still a few folks
out there that would try to tell you otherwise, but I guess this is true about
almost anything.
The transcription books are
greats handle every kind of
their use of theory too. We
and learn a lot from all of
One of the best things to be gained is a broad jazz vocabulary, AKA "licks".
As I mentioned in the previous lesson, one should extract only the very best
licks from transcribed solos... You will come across a few and say, "oh good,
I've been hearing that one in my head"... or "wow, that lick is fantastic". The
ones that really strike you as being fantastic really are fantastic... FOR YOU!
There are so many sources for gathering your personal collection of patterns
that there is no need to be greedy!! Just copy the "best of the best" into your
notebook. Later, you can reevaluate them and see if they still seem as good.
There is no hurry, but if you do learn the material that really appeals to you
the most, you'll really enjoy your own playing. Why learn anything else?!!! I
think the very best material to learn is the material that you keep hearing in
your head already... The stuff you'd sing without any regard for theory is the
"real you" in my opinion... I play what I hear now, but I spent many sessions
singing into a tape recorder with jazz tracks playing in the background. Then
I'd go back and transcribe just the very best of what I sang. This might be a
bit difficult for many of you right now... but you will definitely find a lot of
the
licks you've been hearing in your head (and in great players' solos) there in
those transcription books! Believe me... THEY ARE A GOLDMINE! So, go and
do some digging. You WILL reap MANY rewards!
matters is that the resulting solo is packed with great stuff and is connected
in a fairly logically and smooth manner.
By doing this, not only will you get a broader vocabulary of jazz patterns up
and running, but you'll practice and hear them frequently, in the appropriate
places where they're meant to work best. This works for any kind of song. It
is extremely valuable to do this using the blues form, and also with "rhythm
changes" too! If you don't know what that means, you'll just have to wonder
about it for a while. We'll be back to this. It wouldn't hurt to get carried awa
y
with this project and write yourself several blues 'solo/heads'. You could play
all the blues solos in the two books, circling all the most interesting patterns
,
then go back and begin piecing them together like a puzzle. Remember, just
use the very best stuff, and don't be afraid to add in your own material or to
change licks to make them better!
You should also start thinking about composing a "practice solo" or two using
all original ideas of your own. Maybe you will find yourself singing into a tape
recorder very soon just like I did... I certainly hope so!!
ut
the first few notes. You could just write out a few measures at first, then come
back to it periodically and write out a little more. Listen to it many times. Si
ng
it, play it, then write it down. Go back and listen to it one measure at a time
if
needed, but DO go ahead and get started on your first solo transcription now!
Your first transcription will be a project you'll never forget!! It may take dai
ly
work for a whole week or longer. It may seem difficult at first, but just take i
t
one small piece at a time. When you're finished with it, you'll immediately feel
the benefits. You will be much more familiar with all the material, and anytime
you hear any of it in the future (whether it's through your ears, or it's coming
to you from inside your own head) you'll instantly recognize what it is!
few
in the
public
that.
Measures 13-14 will be handled the same way as measures 5-6, and measure
16 is a simple "altered dominant chord". Plug in an appropriate pattern there.
Also spend some time improvizing freely on the diminished/whoe tone scale. I
hope you'll remember how to explore up from the root a little... and also down
from the root a lttle too. If you don't, then you're not fully digesting the ear
lier
material, and you are only kidding (and hurting) yourself. Don't move too fast!
I know the basic chords are easy, but use these "easy" songs to actually apply
all the stuff I've been teaching you. I know from experience that many will not
heed this advice. Don't let yourself miss out on all the good stuff!! A guy coul
d
blow all the way through this track... using nothing but one D minor type scale
and a II/V7/I lick in F major, but what would you learn? Some hobbyists might
go the simpler way and that is fine, but if you're really serious, you'll do eve
ry
single thing I'm suggesting. It never hurts anyone to go back and review to be
certain they are getting it all. Everyone needs to go slow, AND GET IT ALL!!
Then after a couple of choruses, try outlining all the progressions using all of
the
scales and licks suggested here in the third paragraph. After doing that for a f
ew
choruses come back to that E minor/blues sound again. Eventually you'll go back
and forth freely between the two strategies within choruses any way you like.
Mix and match. If you only play minor/blues scales and licks, you'll overdo it a
nd
wind up boring the listeners. If you only use the more sophisticated strategy, y
ou
will fall into the same trap again!! However, if you go back and forth between t
he
two approaches, the listener is drawn in as the contrast between the two styles
of
playing becomes very interesting. It's the contrast that makes each of these way
s
so effective! Experiment by alternating between "sophisticated" and "earthy".
laypeople interested and listening. It is so very easy to lose them when they
can't understand the music. This gives them something to hold onto!
Begin experimenting with this strategy. Try keeping the melody in mind even
when you aren't quoting it. It'll help you maintain a good sense of structure!!
Go ahead and experiment with this technique on other songs too whenever it
seems appropriate to the style. Remember, this is all supposed to be fun!
Experiment
Experiment
Experiment
Experiment
Experiment
by
by
by
by
by
using
using
using
using
using
chords in the whole song, each lasting four measures each. The G- chord
at the end continues into another four measures of G-, so I suppose you
could say it lasts for eight measures there.
One can use any of the minor type scales on the G- and E- chords. Dorian,
minor/blues and minor/pentatonic would be the three most obvious choices
for you to use, but it is good to experiment with the other possible types of
minor scales as well... such as aeolian (natural minor), harmonic minor and
melodic minor (ascending form). Here are their formulas. Putting them into
the keys of G minor and E minor is up to you.
1....... Natural Minor........................... 1, 2, -3, 4, 5, -6, -7, 8
2....... Harmonic Minor........................ 1, 2, -3, 4, 5, -6, 7, 8
3....... Melodic Minor........................... 1, 2, -3, 4, 5, 6, 7, 8
The Eb7 chord would use the dominant/mixolydian of course, but you could
experiment with some other scales there too. Here are some suggestions. I
will only remind you of their formulas. Puting all these into Eb is your job...
1.......
2.......
3.......
4.......
5.......
6.......
Eb
Eb
Eb
Eb
Eb
Eb
"major/pentatonic"................. 1, 2, 3, 5, 6, 8
"major/blues scale"................ 1, 2, +2, 3, 5, 6, 8
"dominant/blues"................... 1, 2, +2, 3, 5, 6, -7, 8
"minor/blues scale"................ 1, -3, 4, +4, 5, -7, 8
"lydian/dominant".................. 1, 2, 3, +4, 5, 6, -7, 8
"dominant/bebop".................. 1, 2, 3, 4, 5, 6, -7, 7, 8
The major pentatonic scale fits nicely with dominant chords, as does the
major/blues scale. Both of these have the unaltered 3rd step and no 7th
step at all, so they both work with either major or dominant chords. That
"dominant/blues" scale is a variation of the major/blues. It has the -7, so
it will work with the dominant chords. The minor/blues sounds pretty well
with dominant chords too even though it has the -3. Two more good ones
to explore are the lydian/dominant, and the dominant/bebop scales. They
are both variations of mixolydian. If you try out all these scales that work
with dominant chords, with and without the background CD, you'll be able
to see how each one sounds and start to become familiar with all of them.
Use all these scale choices on this tune. You will discover more sounds for
your personal palate of colors. Of course, you should also use the various
licks from your notebook as well.
previous lesson. Please review Lesson 85. There I introduced a very useful
technique for use with the song "Killer Pete", which I hope you realized was
built on the chord changes to "killer Joe". (BTW, jazz composers often build
compositions using the chord progressions taken from other tunes. A chord
progression by itself cannot be copyrighted, so this is very common!)
The strategy I'm refering to, studied in lesson 85, is that of starting to play
on a new scale a little before a chord actually arrives. I had you start each
new scale in the bridge of "Killer Pete" a few beats early.... which produces
an effect similar to "playing outside the changes". Review Lesson #85 once
more to refresh your memory. I'd like you to experiment with this strategy
some more using this song... Maiden Voyage.
Just begin using each new scale a few beats before it's chord actually arrives.
You'll see how eloquently this works. It is one of my favorite techniques! You
will sound as though you have departed from the modality and then resolved
back into it with amazing skill, while it was really quite simple... This is one
of
those super tips worth a thousand bucks, so don't waste your opportunity!
One nice way to use this little trick is to play some bit of material repeatedly
in one key, then begin repeating the lick in the next key just a bit early. It i
s
a technique worthy of your full attention and its the main thing I want you to
get from this lesson.
You just use the scales suggested under each chord, or try some minor/blues
and minor/pentatonic type scales and licks. Keep it simple though, so you can
explore this technique of starting to play on the next scale early. You're going
to love this! So give it some SERIOUS EFFORT. You won't regret it!! I am...
ar
blues, but it's not "bluesy" at all. It's hard for me to put into words, and I a
m
not the kind of guy who is usually at a loss for words!
Basically, the song can be handled using the dorian scales suggested, or the
minor/pentatonic, or minor/blues, with lots of chromaticism (especialy useful
in measures 9 and 10). The use of chromaticism will help to connect things in
a very smooth manner. Experiment with this!! Try using your chromatic scale
to explore outside of the key. This song is well suited to this kind of approach
because of it's "floating" quality. Just play with the chromatic scale, using it
to
take you outside of the key and then back in again... This, and that technique
stressed in Lessons 85 and 113 of 'starting a new scale a little early', are bot
h
excellent ways to begin your first explorations of playing "outside" of the key.
Do spend time with this. The most important part of any excursion 'outside' is
the resolution that brings you back inside... It must be handled eloquently. I'l
l
often hear players going on lengthy journeys, playing long "outside" patterns,
but they don't return to the key well. To me, nothing exposes one's weakness
in this area more than that.... You should always try to hear a good resolution
and then play what you hear. Experiment with this chromatic outside strategy,
and even the technique of "playing the next scale early" we've been dicussing.
Above all else, go to the hyperlink and order this CD now!!
In lessons 12 through 15 I've listed what I feel are some of the very best CDs
and DVDs ever recorded. If you don't yet have a real solid collection, you can
order almost every single thing I recommend in those lessons, on the website
hyperlinked here in this lesson. EJazzLines is the most complete source ever!!
They are fast, reliable, and almost always have everything they list in stock.
The DVDs I strongly recommended would be enough to keep a guy motivated
for years all by themselves.... Miles Davis' "My Old Flame" album is one of the
most beautiful ever recorded. I hope you revisit those earlier lessons (12-15)!
Beg, borrow, and steal if you have to... but do at least get My Old Flame, Miles
Smiles and any (or all) of the DVDs you possibly can! Hey, the improv lessons
are free, so you can rationalize this one shopping spree for sure!
nearly feels like two beats per measure, plus this song is usually performed
a little faster than it is here on this JA track. This is important when decidin
g
how to handle the chords in measures 9 and 10.
If the tempo was VERY SLOW, chords like these would require much more of
our attention... If they lasted for a couple of bars each we'd probably have to
deal with each one using a different scale. But as they go by so quickly, there
is not enough time for the harmony (of each chord) to really sink in. At times
like this it's often inappropriate to try to outline each and every chord. Tryin
g
to do so can actually interfere with a smooth flowing melodic developement.
These chords can be handled as what I'll call "passing chords"... Consider this:
If one were to simply ignore them altogether and just continue playing D minor
type material right through... the effect would be one of creating a little tens
ion
that resolves the moment we arrive at measure 11. In situations like this, most
improvisers would not try to outline each of those chords... Attempting to use a
different scale with each chord would be quite awkward, and would likely cause
a player to stumble all over himself at that point.
If you compare the notes in the melody with the notes in those chords (written
out near the bottom of the page) you'll see almost no correlation whatsoever!!
I know it's possible to analyze these notes, and come up with some way to say
that each one is actually an altered upper extension of the chords they're used
with, but this can be done (with enough effort) for any notes at all. Actually t
he
way the head is usually played, extra notes are used chromatically, connecting
the C# to the E, and the A to the C natural, in measure 9. If you get that Miles
Smiles CD you'll hear this too. As you can see, the melody uses the chromatic
scale freely right through these two measures, and so can you!!
Try using the chromatic scale and also the D minor/blues scale there. You could
try some other sounds there too, such as whole tone or diminished, built on any
starting notes you like. Experiment with "going outside" here. It is a perfect s
pot
to try almost anything with, but the key to doing this well has to do with a pro
per
resolution. Nearly anything will sound right here, as long as it is resolved wel
l. If
you aren't sure about this strategy try coming up with improvised material using
scales or licks with each chord, and you'll find it very difficult not to sound
stilted
this way. Even trying to use chord tones will prove to be very unsatisfactory. G
o
back to blowing right through those two measures using chromaticism and/or the
D minor/blues, and see for yourself what works best for you! "Trial and error" i
s
one of the jazz improviser's very best tools. Whatever one discovers themselves
has a way of sinking in quickly and deeply! So, always experiment!
to back. Look at the last two measure of the head and you'll see that all of
the chords in the turnaround progression are dominant. You will also notice
suggestions for possible "chord substitutions" written above those chords. I
want you first to take note of the fact that JA suggests that a G7 chord may
be used in place of the B7. In other words, we could make this progression
into a "I/VI/II/V". That's a common variation which doesn't change how we
handle it either. The III chord is almost exactly the same as a I chord, so it
should not be surprising that these two chords can be used as substitutions
for each other. Even more substitution possibilites are given in the changes
at the bottom of the page, particularly the E7b9 in place of the usual E7. I'll
tell you that these variation make no difference in how that turnaround will
be handled, and this is true. It will still funtion the same way, even with the
alterations we see being suggested... Sometimes you may need to make a
slight alteration to a turnaround lick so that it fits a little better. In the E
7b9
chord, a b9th may need to be used in place of the usual unaltered 9th.
There is one more lesson after this that continues this discussion of theory
and strategy that can be applied to the 12 bar blues track, "Tootsie". Read
on! Betcha didn't expect to get all this with just a "plain old" blues track!
categories of patterns so far... Soon you'll have at least a few licks in every
single category! How many you eventually learn and/or master will be up to
you, but everyone needs to establish a solid foundation of jazz patterns! Do
not think they aren't important. They are absolutely essential. They'll unlock
many doors for you that you would never cross through otherwise!
Use licks from any and all sources. You are now a "turnaround progression
player". Even if you can only learn one single pattern for this progression to
try out with this track in G, use it over and over again. It's time to plug your
licks into the music everywhere possible! This is a good place to begin using
your first turnaround in an actual song for the first time. Be brave, go for it,
and don't be afraid to experiment and make mistakes!! Your mistakes often
teach as much as your successes... If you never make mistakes, you aren't
pushing back your boundaries!! Now, don't apologise. Blow that horn!! Make
mistakes, and be PROUD that you're moving forward!! Things like this might
seem nearly impossible at first, but just stick with it and be patient!! IT WILL
COME SOONER THAN YOU THINK, SO STICK WITH IT!!
in
this manner. I refer to the material the soloist is using as "substitute pattern
s" or
"substitute licks", or even just "substitute material"... You may need to read t
his
whole lesson four or five times for all this to fully sink in.
So here's a summary. Substitute harmonies work whether or not the soloist is
aware of them being used, and substitue licks work whether or not the rhythm
section players are using them too! The substitutions are designed to work this
way! They work even better, of course, when all the musicians hear what each
other is doing and join in with it. As a soloist you need to be aware of all of
the
common substitution possibilities so that you can either "join in" when you hear
them being used, or simply use them as a foundation for improvising your own
substitute material, whether or not the rhythm section players can quickly hear
what you are doing, and join in with you!!
Even the intermediate level players need to have some basic knowledge about
this subject. It will make many situations easier to understand, and many chord
progressions easier to deal with... So far, the main substitutions I've introduc
ed
were in regard to alternate methods of dealing with the minor II/V7+9/I, but I'l
l
now begin introducing more substitution possibilities as the opportunities arise
.
This'll all probably seem pretty mysterious when you first hear of it, but as we
go along, I will introduce more and more substitutions a little at a time... It
will
all become clearer... Do not get scared at this point and run screaming into the
night! I won't give you more than you can handle. This is the point at which one
crosses the bridge from intermediate level to advanced. Most of the new theory
you'll learn from here on, will have to do with substitutions and other strategi
es
for handling the changes. Some have already reached their goals, of being able
to play basic blues, ballads and standards. They'll have their 35 song repetoir
in
about three or four more lessons, when we finish Volume 54!!! They'll also have
the very broad foundation I promised them from the beginning. Those who plan
to go onward to the advanced level of the professional calibur jazz musician wil
l
need to buckle down and get ready for the long haul.
You could pause at this level and really master what we've covered and know
that you are a real jazz musician now, or you can continue on for just as long
as you like!! You'll always be able to imagine new horizons, no matter how far
you progress. In fact, the farther you go... the more you'll be able to percieve
how infinate the possibilities really are!
1,
2,
3,
4,
5,
6,
7,
3,
4,
5,
6,
7,
1,
2,
5,
6,
7,
1,
2,
3,
4,
7,
1,
2,
3,
4,
5,
6,
2
3
4
5
6
7
1
Chords that are nearly identical to others have very similar sounds, and are
the most common substitutions. The III chord can be used in place of I. The
IV chord can be used in place of II. The VII chord can be used in place of V.
These would be some of the more obvious possibilities. Here are even more.
The VI chord can substitute for II, IV, or I... The V chord can be replaced by
VII as I said earlier, but it can also be replaced by a III chord or even a II!!
It all depends on the context the chords are used in, and how they sound or
funtion in that particular setting. There are many more possible substitutions
of one diatonic chord for another. Almost any diatonic chord could substitute
for any other, but the examples I've given so far cover about 95% of what a
person would typically encounter.
The basic idea is that the chords containing some tones in common with each
other can generally be substituted for each other... I should point out that the
examples listed above can be used in reverse. In other words a III chord and
a I chord can each substitute for the other. A II chord and IV chord may each
substitute for the other and so forth. These would represent the simplest kinds
of substitution, and also the most common. As a soloist you need to be able to
recognise that chords sometimes sound or function in different ways than you
would think after only viewing them on the page. When this is the case, they'll
need to be handled by the improvisor accordingly. The ear should be the final
judge... In the key of C, for example, an E- chord may sound and act like a C
major chord in certain situations and it would probably sound wrong to use an
E minor/dorian scale in that case.
These substitutions are presented here as simple chord substitutions, the kind
rhythm section players may thrown in here and there. Their real relevance to
the improviser, is that they form the basis by which he can substitute material
over certain chords and progressions. I've told you that II chords can be used
in place of the V chord earlier in this lesson... Similarly, material that can w
ork
with II chords can also work over V chords.... We will see many other types of
substitutions along the way, but several of these are coming up in the next few
lessons, so we needed to discuss some of this information in advance.
will use Bb minor/dorian type material with the Eb7 chord... Most guys find this
to be a very helpful strategy! Give it some time. You may find that you have a
lot more material in the minor modes than in the dominant. Give this a try and
you may love it right away. If not, come back to this some more later on, and
it will probably grow on you.
One more suggestion for this song that JA makes as well, is to use the G minor/
blues or G minor/pentatonic scale over the "break" in bar 6. There is a silence
in
the rhythm section at that point, so even though the chord is technically an A-/
D,
this works very well. Even this would fall under the heading of "substitute lick
s".
We'll deal with this and many other substitution possibilities in the future.
If you will continue to experiment with new techniques and strategies, you will
continue to grow. It's just that simple. Take your time with all of this... It'l
l just
keep getting easier and easier! Just take it all in one small step at a time!!
playing the most beautiful melody you possibly can. Take your time, pause,
and try to hear (and play) what "ought to come next".
using some "two bar II/V7/I" material from your notebook... Once more you'll
lower the seventh over the C7 chord.
The Bb7 chord can be handled as what I refer to as a "passing chord" , or you
can choose to bring out its sound by outlining it to some extent. Sax players'll
have an easier time with this approach because their flexibility is much easier.
They think nothing of running up and down arpeggios while trumpeters usually
play in a more horizontal fashion. Playing smoother lines lays well on trumpet.
One more chord to take notice of. The F# fully diminished chord in measure 12
would be the first fully diminished chord we've seen so far. The scale most ofte
n
used by improvisers with this chord is the WH diminished scale. Learn this scale
in F# now and do use it there. Also take some time to explore this scale without
any CD background playing. Experiment a lot with this scale! We're about to go
onward to advanced techniques and strategy now, so now's the time to be very
open to new scale/sounds if you plan on continuing down this path with me!
There's just one more thing I wanted to mention. In an earlier lesson, I told yo
u
that substitute chords and progressions could "work both ways"... In other words
,
I said they can each substitute for each of the others. That was true for all of
the
substitutions we'd covered up to that point... I'll also present a few more poss
ible
substitutions in future lessons that DO NOT "work both ways". I just got an emai
l
recently asking about that, so I just wanted to clarify. Now, I'll leave you to
your
own devices, and BTW... This concludes Volume 54!
being used. This will be extremely valuable to you and it will help you to be
able to transpose your song into each of the other keys. Continue until you
have learned the song in each of the 12 keys. You'll learn many patterns in
every key this way... with each one being used in an appropriate harmonic
setting. This project might take a week or more your first time, but if you'll
keep learning songs this way, you will eventually get to the point where it's
possible to play almost any song you know in any key on your first try! It'll
take time, of course, but this is one of the single best things you could ever
practice! Some people who reject all the theory and scales use this and the
next strategy as their entire system for playing exclusively "by ear"... Even
if you have the talent of a Chet Baker or a Bix Beiderbeck I wouldn't advise
turning your back on theory altogether... However, these two strategies can
really develop your ear like no others, and they are two of the best practice
techniques one could ever use to improve their skills with improvisation.
(2) PLAYING FOR EXTENDED PERIODS IN JUST ONE KEY. Here is how you
approach this one... Pick one key for the day, and start playing all kinds of
material just in that one key. You could play a variety of heads or "practice
solos" all in this one key. You could also just improvise freely in that key or
play all kinds of licks, again just in that one key... The idea is that by doing
this you will break through barriers you wouldn't have otherwise. You begin
playing in the less familiar keys (with many sharps or flats) in a much more
"fluent" manner. Gradually, you should play in the most difficult keys until it
becomes quite easy. There's really no such thing as "hard keys". Some are
just "less familiar" than others.
As I said earlier, these two practice strategies will help to put all the puzzle
pieces together for you. Everything really begins to click when you practice
these two ways. Spending even one day with either of these approaches is
enough to make a big impression on you. Their benefits are that dramatic!!
Some of the licks you find in those heads (with the first method above) will
be good enough to enter into your notebook along with patterns from many
other sources... You have only been formally asked to learn just a few licks
in every key so far. Be brave now, and start learning a lot more. Pick ones
you really love, and use them in practice anytime you can!!! Being creative
must sometimes take a back seat to simply cramming vocabulary into your
head. We do not solo every time we pick up the horn... Most of the time we
just practice, and this is where we learn. Later we'll perform!
All three techniques will develop your ear in ways that may astound you. I will
never tell anyone to abandon theory... We should learn everything we possibly
can about theory, then practice all the appropriate materials to the point where
they come flowing out of us in a way that requires almost no conscious effort. I
promise you, this really IS possible. You've heard it done thousands of times!
"IMPROVISING ON TUNES STRICTLY BY EAR". This sounds like a strategy that's
too obvious to even mention, right? Yet it is often completely overlooked by too
many players. People get so immersed in stringing a bunch of material together
into contrived solos, that they forget what all of this is really about.
Jazz improv is supposed to be about spontaneously composing, and performing,
beautiful melodies on the spot. A computer could string a bunch of licks togethe
r
with no regard for beauty or communication with the audience. I'm sure it would
be a very simple matter to program a computer to do just that. I hate to say it.
..
but there are a lot of players out there who sound exactly like that.
Here is how to practice this: First, turn off the stereo and put away the play-a
long
CD sets. Second, just sit down and get ready to reach deep inside yourself. Thir
d,
begin playing the first phrase of any simple song that you know very well... You
'll
go very slowly, and pause a long time after this phrase. Wait as long as you nee
d
to allow your mind to form a musical idea that would logically and musically fol
low
this phrase, and then PLAY THAT IDEA, no matter how long it takes!! Do not try t
o
keep a beat. Tempos and rhythm have no purpose here and would just complicate
the process. Simply wait until an idea comes to mind... If no ideas come, then y
ou
just play that first phrase again and wait some more!! Concentrate only on sound
s
inside of your head. Have no concern whatsoever for theory and licks. It might b
e
best to choose a simple song for which you DO NOT know the chord changes. This
process might take a little time at first... but it'll open the door to true spo
ntaneous
creativity and it'll open the door to the musical ideas that are already inside
of you.
I think of this as the "real you"!! Now you're accessing the material you would
play
(or sing) with no theoretical constraints whatsoever.
After you play a phrase and follow it with original material, go to the next and
do it
all again and again... You might embellish some phrases with some extra notes, o
r
perhaps simply replace some notes with a few of your own. Keep using the melody
as your one and only roadmap, instead of the usual page full of chord symbols. G
o
one little phrase at a time, and just wait as long as you have to for ideas to c
ome!!
Keep at this until you can play the entire song with many embellishments, and th
en
continue in the same fashion until only the barest remnants of the melody remain
.
The first song I ever did this with was "Misty". I just kept at this for many da
ys until
I could play endless choruses with very little effort. The benefits to my playin
g were
staggering. The next song I did this with was "Over the Rainbow". I know now tha
t I
could hardly have picked two better songs for this purpose than these. The beaut
iful
melodies and the variations you learn using this approach will stay with you for
ever!
This is a great technique! I can't stress this one enough!!! If you hear an idea
in your
mind there is almost no way it can sound wrong. You will get better and better a
t this
and the ideas will come faster and faster all the time. The key is to go extreme
ly slow
and wait patiently for ideas to come ONE SINGLE PHRASE AT A TIME! This will grea
tly
benefit all your playing, as well as being a wonderful tool to work on individua
l songs.
Keep returning to the songs you've done this with and add a little more each tim
e.
Feel free to add the best material that comes out of you into your notebook, and
learn
it in other keys later on as well. Play the very best songs, with their embellis
hments in
all 12 keys as suggested in the previous lesson too! What could be better than l
earning
how to play the material that is already inside of you?! It's a part of you righ
t now, and
it wants to come out!! Being able to "play what you hear" is absolutely one of t
he most
satisfying and rewarding experiences a player can have!
All your original ideas, and the other material you learn along the way, mix tog
ether in
your mind. All this material becomes more and more familiar, until you'll eventu
ally be
able to play it all with very little effort!! Theory and licks are important...
but, you need
to concentrate on the process of "putting it all together" as well. You should d
evelop all
the skills in every area we've discussed, one at a time. Eventually it will all
become one
single activity in your mind... It all comes together piece by piece, and eventu
ally you'll
be doing things you never dreamed possible!! Just keep taking one step at a time
!!
........
......."PATTERNS ALREADY INSIDE OF YOU, SING AND TRANSCRIBE"........
I often find licks in jazz heads good enough to go into my notebook, but I
think the very best licks are the ones that I find myself singing along with
music without any regard for chords and theory at all. I've introduced this
idea to you several times now. A great way to get in touch with these licks
is to sing along with play-along tracks and record yourself. Later, you'll go
back and transcribe the best licks and put them in your notebook. It won't
matter if you're the greatest singer, or the worst... When you go back and
listen to yourself singing... you'll know what ideas you were going for, and
you'll be able to figure them out. Volumes 16, 21, and 26 are all especially
good for this purpose. They are all "workout" collections containning all the
common progressions (not songs), so they will be very valuable for this. I
would recommend getting all three if you plan to continue moving forward
in your improv studies. Consider these threee volumes to be essentials!
Another great way to get the licks inside of you to come out, is to just sing
and record yourself without play-along tracks... Sing songs just exactly the
same way as you played them in Lesson 127. Just pick a song you like and
sing it one phrase at a time, with embellishments... You'll follow exactly the
same type of procedure as when you played your horn this way... only this
time you'll do it with your voice. This should actually be easier for you than
with your instrument, because you won't even have to figure out any notes
until later when you do the transcribing.
Another good approach to this concept is to sing along with jazz soloists on
recordings. Each time you find another "killer lick" just stop there and work
on it until you have it figured out, then into the notebook it goes. There are
many ways to get your own ideas out into the open but the main thing is to
just do it!! Whatever works for you, whatever inspires and motivates you is
exactly what you should use. The best licks you can learn are the ones you
already hear inside your own head! Learn how to play WHAT YOU HEAR!!
This may be the last time I touch on this topic, but I would say it's probably
the single most valuable piece of advice I could give you. Keep returning to
this many times. Get the licks inside of you out into the open!! Record them
into your notebook. The farther you progress, the better your ideas will be!!
in your notebook should be simple. They should simply outline the chords
and scales used in a very basic manner... I refer to them as "preliminary"
licks, as they are meant to prepare you for learning useable patterns that
are much more melodic in nature... I want to plow through the rest of this
book now, explain some more basic theory, and recommend licks to enter
into your notebook. I never tell students what licks they must learn, but at
this stage it's still quite helpful to continue to recommend licks, to help you
get each of the categories in your notebook started with valuable patterns.
You'd be well advised to enter all of the patterns I've recommended in your
notebook from previous lessons. If you haven't done this, go back now and
take care of that. There haven't been all that many, so it wouldn't take very
long at all. Here are some lessons listing some very good patterns...
Coker's Patterns.......... Lessons 46, 47, 48, 80, 82, 83
Jamey's Patterns.......... Lessons 21, 42, 89, 90, 91, 92
Of course I strongly recommend getting licks from your own inner mind as
in the previous lesson, and in other ways with and without using your horn.
Don't kid yourself about a patterns notebook, you have to have a collection
of basic vocabulary!! Do not rationalize skipping over it. This material must
be recorded and practiced. It won't do you any good just reading this!! Get
your own notebook up to speed now, and in the next lessons we'll move on
through Jerry Coker's "Patterns for Jazz".
whole tone scale is a really good choice for dominant chords with a raised 5th.
The whole tone scale IS NOT a good choice for dominant chords with a +9 or
-9. Comparing formulas will make this clear as the 2nd step of the whole tone
scale would clash with any raised or lowered 9th in the chord... BTW, the very
common +11 (or#11) is actually the same note as the +4 (or#4), so there is
no conflict there either. The +4 is a very beneficial tone, as I'll explain late
r.
In the next lesson We'll cover the next section in the Coker patters book which
deals with the whole tone scale. One more thing I would like to point out is how
easy it will be to learn 12 whole tone scales... Notice the two whole tone scale
s
I've listed below:
C whole tone...............C, D, E, F#, G#, A#, C.
Db whole tone...............Db, Eb, F, G, A, B, Db.
Notice that the notes in the C whole tone scale also form the notes for the D,
E, F#, G# and A# whole tone scales (kind of like modes ). Similarly the notes
of the Db whole tone scale also form the notes for the Eb, F, G, A and B whole
tone scales as well... In other words, once you've learned the C and Db whole
tone scales, you'll already be able to play all 12!! If you didn't quite catch t
hat
read and study this again and you'll see that these would be the easiest twelve
scales you'll ever learn! You could learn all 12 in about one minute. Go ahead,
give it a try and see if I fibbed. Just learn those two and you'll have all twel
ve!
I'll be right back with Jerry Coker licks using whole tone scales, and then late
r
we'll learn about the two kinds of diminished scales and how to use them with
both fully diminished chords and more alterered dominant chords that contain
the +9 and/or the -9... Everything from here on should be thought of as being
"advanced material". Very few improvisers ever get this far, but this is exactly
where you need to be if you want to keep on growing for a long time!
Playing and mastering it all is another matter. You MUST keep reviewing the
old lessons until they are thoroughly understood, then you MUST practice the
materials until they are mastered too. This does take some work, but it's fun
and satisfying, and once it's done... you get to keep all the gains for the rest
of your life!!
scales... and #156 and #157 are good useable jazz patterns. This scale should
be an easy one to create a few patterns of your own... Put all the patterns that
I suggested into your notebook (plus a few of your own). They'll all go into the
altered dominant section.
Remember that this scale is not suitable for dominant chord containing altered
9ths (+ or -), nor do they work with altered dominant chords without the raised
5th step. An unacceptable clash would exist between the 5ths. There will never
be a clash with the +4 though. It is not a chord tone, so it always sounds right
.
There is one exception. Don't use the whole tone scale over a chord containing
the "sus 4". That chord replaces the 3rd step with the unaltered 4th step... so
it
won't fit with the whole tone scale with it's +4 (#4th step). I probably should'
ve
mentioned this exception in the lesson above.
are #162, #166, and #167. As with the whole tone scales, it should be fairly
easy for you to compose a few licks of your own using this scale as well.
Start singing and playing this odd scale until you begin to get used to it's odd
sound. Come back to it regularly and you will like it more and more. As you'll
read in the book... this scale and chord do not really belong to any key at all.
It can resolve to any chord at all, but the best resolutions are usually upward
by a half step. The C WH dim scale seems to resolve best to Eb, Gb, A and C.
Because of the "keyless" nature of this scale, I record it's patterns in with th
e
"outside patterns" section of my patterns notebook. They're actually some of
the most useful scales for "outside" playing... so this section of your notebook
will make a good home for them. Just mark them as "WH diminished" licks as
a reminder that they can be used "inside" over the fully diminished chords, as
well as being useful "outside" material over almost any type of chord at all.
Patterns built from the whole tone scales, and the chromatic scales, can both
be used very well as "outside material" too. Experiment with these from time
to time and you'll see what I mean... They pretty much work with any type of
chord at all, and can resolve to any type of chord as well. This is a very good
introduction to "outside playing"!
Well, there you have the diminished triads, the full diminished seventh chords,
the WH diminished scale, along with some great ways to use it. Once you learn
just three, you'll have all twelve... and you have a great start at "outside" ty
pe
playing as well.
So you're studying advanced material now. I hope nobody thinks they'll learn
to do these things just by reading about them. Don't kid yourself. Practice the
material you should be mastering at your present level, review it many times,
then enjoy the fruits of your labor. It just takes time. There is no other way.
I'd say this is a general guideline: If a dominant chord has just an altered 5th
step then the whole tone scale is your primary choice. If a dominant chord has
just an altered 9th step (and possibly a +11) then the HW diminished scale will
be your primary choice. If a dominant chord has a -9 and/or +9, as well as the
+5 (and possibly a +11) then JA's "diminished-whole tone scale" would be your
primary choice. Notice that Jamey's diminished-whole tone scale combines the
HW diminished scale (with both the -9 and +9) and the whole tone scale (with
both the +5 and +11).
The dominant chord has a strong characteristic "unresolved sound". Therefore
it can withstand the most alterations... It can withstand many alterations being
used by a soloist, even when they are not being played by the rhythm section.
Please keep in mind that we're discussing dominant chords that resolve in the
"regular" way, up a fourth as a V7-I chord progression.
The scales we discussed can work with any of the regularly resolving dominant
chords pretty well. Some capture the sound of certain altered dominant chords
better than others (as I just listed them above). In the end, though, you should
let your ear be the final judge. There's no rule that you must use any particula
r
scale in any given situation. As we discussed in the last lesson, sometimes jazz
players depart from the key entirely and play "outside"... If you hear it in you
r
head, and it sounds right, THEN IT IS RIGHT!
In this section of the Coker patterns book, pages 130 to 134, licks are presente
d
using the HW diminished scale... the chromatic scale... and even the "whole-half
"
diminished scale as well because of their similarities. This time I'll simply le
t you
pick your own favorites without any help. You are studying advanced jazz theory
now, and you must choose what to keep and what to discard for yourself. Return
to this material repeatedly as it'll take time to grow on you. It might be helpf
ul to
review some of the licks in the "minor II-V7+9-I" sections of your notebook that
use these scales to help you get used to their sounds and hear how they resolve.
I do hope you'll take the time to experiment with these new scale sounds.
First of all a glimpse at "the big picture" if you will.... There are two basic
categories of dominant chords, altered and unaltered. The unaltered type
will have formulas without alterations... such as 1, 3, 5, -7, 9, 11, and 13.
Then there are the altered dominant chords, that may contain tones such
as -5, +5, -9, +9, +11 (or possibly other altered tones as well).
Secondly, there are two ways dominant type chords can resolve. Regular
resolution refers to dominant chords resolving in the usual way... up by a
perfect fourth (same as down by a perfect fifth). This is how you'd expect
a dominant V7 chord to resolve to a tonic I chord. This works the same in
both major and minor keys. "Irregular resolution" refers to situations with
dominant chords progressing to any other destination than up by a fourth.
These four factors are the most important in determining which of the many
possible scales would be the most appropriate choices in any given scenario.
Here are a few general rules, then we'll get more specific later.
Dominant chords usually function as V7 chords in a given key, and as such
they have a very "unresolved" feeling and a strong need to progress in the
"regular" way to a I chord... Dominant chords often have a few extra notes
added (often altered tones) to enhance this tension. Altered tones make the
harmony more complex, imparting added depth and beauty to the sound.
If a dominant chord resolves in the regular way it'll often have altered tones
added to it for this reason. Scales containing those specific altered tones will
obviously "fit" the best and "sound" the best with those particular chords!! If
a dominant chord progresses in an "irregular" fashion, then it's less likely to
contain altered tones (though many do, especially the #9). Scales containing
several altered tones should not generally be used in this situation... Altered
tones must be handled very carefully.
The reason for this is that altered tones in a dominant chord make listenners
expect a regular resolution because of all the added tension. If an irregularly
resolving dominant chord is over-embellished with altered tones it can sound
wrong when the chord fails to resolve up a fourth as expected. Soloists must
be careful about how they handle altered tones because of this.
That's enough to absorb for now. Read this as many times as you need. The
altered dominant chords usually resolve up a 4th, and the best scales to use
over them contain the same alterations that appear in the chord. "Irregularly
resolving dominant chords" should generally not be embellished with altered
tones by the rhythm section players nor the soloist... because listenners then
expect a "regular" resolution, and what you played winds up sounding wrong.
Any dominant chord that resolves up a fourth (in the "regular" way) could be
soloed over using scales that contain embellishing altered tones... even when
the chord in question contains no altered tones at all. Take your time with all
this... It'll definitely sink in!
I'll be back with a fairly detailed list of scales for each situation, but if yo
u get
ahold of these general rules right now you'll be most of the way there already.
There are more scales than these. I sometimes invent a scale for use with an
unusual chord from time to time. I'll take a typical scale, then simply alter it
to
contain any of the unusual chord tones. Sometimes I ignore theory completely
and use a group of tones that simply "sounds right". Other times I may simply
use a section of the original melody and embellish it a bit. All jazz soloists w
ill
employ these strategies at times. If it sounds right... IT IS RIGHT!!
There are more scales, and there are more strategies as well. One way to play
over altered dominant chords is to borrow material that is most commonly used
with minor II-V7 progressions!! "Tritone substitution" is another common device
that we'll explore in the future along with other similar substitute material.
As I write these lessons I'll assume that all who keep following are fully able
to
understand everything that has come before, but everyone should still feel free
to post questions about any area of improvisation they may be studying at their
current level. I would also strongly suggest that any advanced players who have
been waiting for me to catch up to their present level should go back and review
my earlier lessons to make sure they really have everything up to this point.
y
of the patterns presented here all that interesting... When we play II-V7-I lick
s
in practice modulating down by whole steps, we'll get the sound of this kind of
progression into our heads. Example: D-, G7, C, then C-, F7, Bb, etc... You can
also make up some lines that outline this type of progression. Another example:
C, D, E, F, G... C, D, Eb, F, G, then play Bb, C, D, Eb, F... Bb, C, Db, Eb, F.
The
first example was of II-V7-I chord progressions decending downward by whole
steps, and the second example was of actual notes to play in order to get used
to the sound of this decending modulation. You should make up more examples
on your own and play them from time to time as exercises.
Well that's it for this lesson. I'll be back again with more and more until we'v
e
covered the rest of this book... I have always liked "Patterns for Jazz" at leas
t
as much for the theory as for the patterns. This is all VERY valuable theory!
This lesson covers "polychords or bitonal triads" from page 121 to page 126.
A simple definition of polychords is when two or more chords are used at the
same time. The symbol on the page will look like a fraction in mathematics,
with one chord being stacked on top of the other.
In symphonic music composers choose any chords at all in order to achieve
the desired sound. The chords are also typically seperated by a large interval
so that the individual quality of each chord can be heard.
In the jazz idiom composers will generally choose the top chord so as not to
alter the harmonic function of the bottom chord... This is done in a couple of
ways. The chord on top may be composed of upper extentions of the bottom
chord (9ths, 11ths and 13ths, etc), or it may also be a possible substitute for
the bottom chord. Jazz composers rarely stack more than two chords in this
manner, and jazz rhythm section players do not seperate the chords to hear
their individual qualities. The chords are played together as "one big chord",
and the resulting sound is very rich and colorful.
The top chord is generally a triad, and the bottom chord is usually a seventh
chord... The most common type of chord found on the bottom of a polychord
is a dominant seventh chord. Since 9ths, 11ths and even 13ths can be altered
in so many ways with the dominant chords, often the top chord will be both a
substitute chord and also made of upper extentions at the same time. A good
example is presented in the book using a C7 chord as the foundation... with a
Gb7 chord stacked on top. Study the examples in the book now to see this for
yourself, then read all the printed material as many times as needed in order
to make certain you fully understand this device.
After you feel comfortable with this, play through the patterns listed on pages
122-126. You'll see how two chords can be used by a soloist to produce some
melodic material for use in improvisation. We'll return to this subject soon and
discuss how certain scales can be used over polychords as well.
any of the major type scales that either have no 4th step or any that would have
a raised 4th step (like lydian) to fit with the F# in the polychord. Simply put,
we'd
use a scale that will fit the bottom chord in the usual way, but it would be alt
ered
slightly to incorporate any unusual notes that exist in the top chord. This way
we
are able to play a scale that is suitable for both chords, and not change the ba
sic
function of the fundamental (bottom) chord. Almost any polychord may be dealt
in this manner. The use of "chordal patterns" that outline the individual chords
as
presented in the previous section is another excellent strategy.
Now let's discuss the concept presented on page 127 to the top of page 130. The
strategy here deals with the use of substitution. We are studying chords that ca
n
be used creating substitute material primarily for use over altered dominant typ
e
chords. A common substitute chord for this situation is located an augmented 4th
(or diminished 5th) away from the dominant chord in question. In classical music
theory it is known as a "Neopolitan chord"... If the dominant chord is the V cho
rd,
then the substitute chord will be built on the bII (lowered 2nd tone of the key)
. It
can be of either a major or dominant quality, and the substitution will work fin
e.
Major triads are used in the examples given in the Coker book in this section. I
t
is also possible to substitute major triads built a minor third above, or below,
the
dominant chord as well... A little study will reveal that we are now building ma
jor
triads at intervals of a minor third repeatedly, thus producing triads built on
each
tone of the fully diminished chord. Please review page 127 to get more details o
n
how this works. These substitute chords are very useful, and any advancing jazz
student should spend some serious time with these. They are much easier to use
than it would appear. Spend some time playing the patterns given in this section
.
Be sure to notice how these four triads combine to form a HW diminished scale.
This is perhaps the most commonly used scale for altered dominant chords and,
of course, regularly resolving unaltered dominant chords as well.... My personal
favorites from this group of patterns are #203, #204 and #205. At this level you
should rely on your own ear to decide which ones might make it into the altered
dominant section of your own patterns notebook. It's completely up to you now.
Since so many polychords are built with a dominant quality you should always
consider the possibility that what is needed is one of the scales you'd normally
use with an altered dominant chord... See if the top chord is made up of upper
extentions in order to determine if a whole-tone, HW diminished, or diminished
whole-tone, or other other similar scale should be used. Often the combination
of the two chords will actually form a dominant 13th chord with alterations.
We've already covered the material in the next section
in Lesson Number 133. The next lesson will cover pages
the "augmented scale", and we will soon be all the way
Jerry Coker's book "Patterns for Jazz". Take your time
it even possible to determine this in every single case? Well, the first thing
to consider are the chords following any particular progression. If the two
chords were followed by a C major chord, you'd feel pretty confidant that
the whole group was a II-V-I in C major. If the two chords were to repeat
over and over again they are most likely funtioning as the I and IV chords
in D minor. If the two chords are followed by a C minor chord, then the F7
chord, then a Bb major chord, then the whole group is almost undoubtedly
functioning as a III-VI-II-V-I turnaround type progression in the key of Bb
major. Lastly, if the two chords are followed by an A minor chord...not too
unlikely in a funk style perhaps, then this would probably be a IV-bVII-I in
the key of A minor.
Notice in each example that I used words such as "probably", "most likely",
"feel pretty confident that", and "almost undoubtedly". Even though it's very
likely in each case that the chords following such a progression would prove
to be reliable indicators of how the two chords function, it is still not certai
n.
So what else could we take into consideration? The answer to that question
is "the chords that come before a given progression". Now, we can see that
any chords that precede give even more confidance to our analysis... There
are even more keys that our little two-chord example could function in, but
I will leave that to your creative imagination for now.
The main point that I'm trying to make is that even considering all the chords
that surround a given chord or progression (which is generally very reliable)
there is still no absolute certainty gained from simply studying and analyzing
chords and progressions... The final judge in all this... yes, the real final fa
ct
of the matter is... the only real reliable judge for sure is ... YOUR EAR!
I remember early in my study of improv sometimes being astounded to see
what the chord progressions actually were for melodies that I had previously
learned to improvise over strictly by ear... I would hear them one way, then
later find out they weren't what I expected!! Usually I'd hear progressions in
my head that'd function as a substiution for what the composer had actually
written, or there would be a spot where I was using scales that were actually
modes of other scales one would normally use according to the conventions
of jazz theory... Occasionally, I could not find any theoretical justification f
or
what I heard fiting with the underlying chords. I came to realize that in some
contexts certain chords didn't function or sound at all as one would normally
expect!! I soon learned that what "sounded right" was much more important
than the symbols on the page, or the theory in my head!! If it sounds right...
then... IT IS RIGHT!!
If I have a chart in front of me and there are chords that just don't seem to
fit with the usual scales one would normally expect to use, then the thing to
do is to abandon your expectations. This happens much more often with just
a single chord at a time, or perhaps a short group of chords that don't seem
to function in the key center indicated by the surrounding chords. When what
you see on the page doesn't jive with what "sounds right" in your mind, you
should give more weigh to what you "hear" than to what you "see".
The main point of this whole lesson is... that in order to determine what key a
chord or progression is really in (in order to determine a good choice of scales
to use over it) one must consider all the chords surrounding them, but the final
determination should be left to your ear!!! If your knowledge of theory dictates
one scale choice, but your ear says "No, no, no..." go with your ear!! Anything
you will see on the page can be analyzed as being in one key or another, but
always trust your ear the most to tell you what's right!
ll
the earlier material they've learned sink in very deeply, and then you'll be abl
e
to come up with more complex variations of the earlier material later on!
The main point here is not to put the most complex patterns into your notebook
to learn first, thinking it will make you "sound advanced" right away. Be patien
t,
and build a very broad foundation over a long period of time. The slower you go
with all this, the better you will eventually be. Learn the basic material extre
mely
well then progress to more advanced material only when you have really gained
proficiency with most of what has come before.
Don't try to impress anyone, not even yourself. Go slowly. A person beginning
a course of study with these lessons shouldn't expect to reach this point for at
least three years or more, and that's with very consistent daily practice. If yo
u
have everything we've discussed well under control, then you are definitely an
advanced level player already. If you're advanced enough to understand these
last twenty lessons, it is probably still a good idea to go back to earlier less
ons
for a "quick scan" just to make sure you're really up on everything so far. The
lesson are sequential, and I always assume you fully grasp everything that has
come before. Most people need to go back and review regularly anyway.
Take each lesson at your own pace. When you really have lessons fully learned,
you'll know exactly how to incorporate each new skill into your practice routine
.
I will hold off posting more new lessons for a little while. Now is a very good
time
for readers to post any questions at all, regardless of what level you're on. I'
ll
answer any questions, and then we'll continue on to the next phase.
enough. Many players never make this leap, and they wind up sounding as
though they are simply plugging in licks, rather that creating any real art.
Many come to think of the chord symbols on the page as a kind of perfect
guide to determinig scale choices. They often outline every single chord as
they play, not realising that many are merely passing chords of such short
duration, that they should probably be handled with much less weight than
the surrounding chords. Sax players will often do this to excess... Trumpet
players are less likely to overdo this type of playing because of their usual
linear approach (again, as discussed in Lesson 145) but we all still need to
be careful about this.
Chords that come on beat one in "4/4" should generally carry more weight
than those that land on beat three. Similarly chords that come on beat one
or three should carry more weight than chords falling on beat two and four.
It's very similar to the way we accent the various beats in each measure.
It should be obvious that when there are four chords per measure it's very
likely that a soloist will sound quite stilted if he attempts to play a "correct
"
scale over each and every one of them. At times, especially at fast speeds,
even two chords per measure can be too much to try to outline... This is all
up to the player, of course, and it's something that is usually determined by
taking into account the speed, style, and one's own particular abilities. One
example might be as follows: We see the following chords lasting for only a
single beat each... C, C# half-dim, D-, D# full-dim, E-. In many instances a
good strategy would be to simply "ignore" the second and fourth chords of a
sequence such as this. We call them "passing chords" as they are brief, they
come on the weaker beats of the measure, and they don't change the basic
harmonic function of the progression. If the song is a ballad that's at a slow
tempo, we would probably consider addressing each chord individually, and
possibly use appropriate scales for each of them... and the style, tempo and
even the personal tastes and abilities of the individual soloist are all factors
in making these decisions.
At fast tempos some of the chords (as described above) may be ignored by
the soloist and the result can be more effective than trying to play the scales
that would technically fit with every single chord. As your abilities grow, and
you are increasingly able to play at faster tempos, then you will have more
flexibility in making these kinds of decisions. You'll eventually get more and
more velocity in your playing, and be able to outline more and more chords
in a musically pleasing manner. But until then, it is often wiser to recognise
that many "passing chords" can simply be "passed over".
Ironically this technique is often very effective in creating a sofisticated typ
e
sound, as the listener hears the alternating "tension and release" happening
quite rapidly... Of course there are times when weaving elegant lines in and
out of the key center, using all the chords as your guide, would be a much
more effective strategy as well.
I chose the chords in the example above for a reason. The passing chords
were all of a "leading tone" type construction. It is very common to see this
type of progression where the passing chords land on the weaker beats and
resolve up to diatonic chords by half steps. There are many other common
examples. Try this technique sometimes when the tempo is just too fast for
you to really nail each chord with a "correct" scale. It will often sound really
good and it allows you to think more horizontally and more melodically.
"in the zone" so to speak, and then you really do "play what you hear". These
scales and chords, and the patterns built from them, are the theoretical basis
for all your musical ideas. They are the foundation for all improvisation.
You must learn scales, and you need those licks too, lots of them! You should
work everyday on these fundamentals with your instrument, and away from it
as well (through lots of singing and listening). Do not try to justify skipping
all
this stuff. The more advanced scales WILL sound the strangest to you at first.
Later, as time passes you'll learn to hear them and how they resolve. They'll
yield up the most beautiful melodic fragments of all, many with a certain kind
of bitter-sweet quality you'll find intoxicating. But like I said, at first you
might
wonder how you will ever make use of them. The first few licks you learn with
each scale usually help you "hear their characteristic sounds". If you've made
it this far, don't stop now! It is time to get really serious about learning sca
les
and their sounds, and to learn your own favorite licks constructed from them.
In the next lesson I will go into this much further. We will again explore the
best sources for getting musical fragments (licks or patterns) to add to your
personal collection. Many of the very best ones are inside of us already. The
only thing is how to get to them... Trust me, they're in there! There are a ton
of licks inside every one of us. Even a total layperson has a stockpile of jazz
licks somewhere inside!!
I've heard some improvisers say that they use no licks or even scales at all,
and that they have absolutely no knowledge of music theory! But unless they
are truly genius savants, none of this is possible either. If we abandon ideas
about learning to improvise without theory, scales and patterns... then it just
makes perfect sense to learn all we can. The theory and scales are clearly a
part of your quest (if you are following these lessons) but we need to look at
collecting and developing patterns (or licks) in more detail now. I sure hope
you have created a patterns notebook by now with at least a few basic licks
in each category. If not... now is the time to back up and get your notebook
going as I've been saying. Go back to the "patterns notebook" lessons, and
make it happen right now!
So, again I ask you to at least review Lesson 46, and possibly other lessons
dealing with collecting patterns to enter into your notebook... and eventually
into your playing repetoir. I'll then discuss what I believe to be the merits of
these various sources in the next lesson, and how to get the absolute most
out of your efforts. I'll be back with this very valuable discussion.
in any exact order of increasing complexity. The main thing is just to have a
place to keep licks catalogued for future use. Anytime you discover a great
new lick... whether it's and original idea or simply taken from any source at
all, just put it in your notebook and you'll have it for life!
Master the basic chords and scales, then learn simple licks built upon them,
and then start working on variations!! Soon you'll play variations of material
you previously mastered almost all the time. Rarely would you use a pattern
in it's basic form as it appears in your notebook... You will become so skilled
that this won't be necessary at all. You'll hear and play ideas that started out
as preliminary material then later evolved into beautiful variations that seem
to come gushing up and out of you with little or no no effort at all. That's the
REAL goal here! Just be patient and look forward to the future. It's coming!
OK, what comes next? Well that's for you to decide. Here's what I mean. You
are totally in charge of how you want to eventually be able to play. Whatever
your own preferences are will determine the kinds of patterns you will choose
to enter into your own notebook, and eventually into you playing repetoir. My
own personal preference is to play the old standards and ballads... but I also
love to play in a funk/jazz group occasionally with an electronic set-up. These
two styles definitely aren't very similar but they generally determine the kinds
of licks I gravitate towards. Your own preferences should be your main guide
for you as well. If you don't want to play bebop, don't spend too much of your
time collecting that kind of material. If you don't plan to play dixieland, do n
ot
collect that kind of material either. After learning your basics and building th
at
foundation, the sky is the limit!! You may have certain goals now, and change
them in the future. But whatever you do... start with the basics and build that
foundation I always talk about.
The sources for obtaining new licks are well discussed in Lesson #46, so do
review that lesson. I can't overemphasize the importance of getting material
from your own inner mind by recording yourself while singing or playing!! I'd
suggest taking the licks from patterns books that you already "hear" and the
ones that you feel are really the most beautiful of all. Only collect the best o
f
the best. Licks taken from transcription books usually need to be altered into
their more basic forms, since they are typically the soloist's variant forms of
standard licks he himself borrowed from somewhere else!!! Make the licks a
bit more basic by taking out the usual embellishments at first. You may want
to learn complete transcribed solos in order to help you get the nuances of a
particular player's style, but not to perform them verbatim in public!!! Really
great licks can often be extracted from heads that you love as well. Do feel
free to take licks from absolutely any source at all.
Many of your very best licks are already coming out of your horn now, but
perhaps only in just one or two keys. Try to take the best that is already in
you and expand upon that! You already hear that material and know how to
use it. Never be afraid to enter your own ideas into your notebook and then
expand upon them. This is possibly the very best strategy of all. You will be
playing what you actually hear all the time. You will be developing your own
personal sound, and you'll be "multiplying" your current repetoir instead of
merely "adding to it". I do hope all of this makes sense.
Please be sure to review Lesson #46, and also Lessons #60-63 as well. They
discuss your patterns notebook. Feel free to add to or change the categories
I've suggested as you see fit for your own personal use. Some people might
want seperate sections for diminished or augmented chords and material, for
example. I usually put these materials in with my "altered dominant" section
or with my "digital patterns". You may organise your own notebook any way
that seems appropriate for you. You will probably find that you want to use a
few more (or a few less) categories of patterns than I've suggested. That is
just fine! You should have enough theoretical knowledge by this point to be
making all these kinds of descisions for yourself.
Let your own personal goals dictate the path you will follow... Start thinking
about being self-sufficient in every way. After all... this projest is your's an
d
your's alone. It's my desire for you to eventually become your own teacher,
and to be able to plot your own future!! Keep taking those small steps each
day, then you will reach destinations you never though possible!!
learning strategy you possibly can. Listen, jam with friends, jam with JA play
along sets, learn all the theory... just do it all. Some people will benefit mor
e
than others from any particular activity. We all seem to learn best in slightly
different ways. Try everything and see what works best for you!! Combining
many strategies usually "puts it all together" for us very well. It's like putti
ng
a big puzzle together. You work on each section and eventually all the pieces
come together. You really don't have to worry about it all. Just keep putting
pieces together, a little each day... and you WILL reach your goals!
The material in a solo is often played in a way that is not very basic. You can
take the material and alter it (most of the time) before placing it into our own
notebooks for long term storage. Try playing an idea several times with slight
variations until you find a version that seems fairly basic to you... without an
y
embelishments, etc. Feel free to change any lick at all to suit your own tastes
as well. There are always an infinite number of possibilities with any lick, but
just start simple, then come up with your own variations and embellishments
to best suit your own individual style of playing.
Transcriptions often contain licks that you've been hearing in your mind but
didn't yet know what they were. Other times you'll discover something that's
brand new to you. Collect only the best of the best. There are so many licks!
Don't waste your time by trying to keep every lick you come in contact with.
I feel the best approach is to first learn the chords and scales that form the
foundations for all this material, then learn some very basic licks (especially
the ones you already "hear"), then begin learning your own variations of the
licks. This way you'll establish a very strong foundation first, then you'll gro
w
in a very logical manner by always expanding upon what you learned before.
Just keep branching out. This is a really effective approach that will help you
to develop your own personal style.
In the next lesson I will begin covering the JA Miles Davis play-along set. If
you don't already have it be sure to get it. The one I'm refering to is Volume
Seven. It's a good set with several more great tunes to add to your repetoir.
I have strongly recomended getting the two solo transcription books "Twenty
Eight Modern Trumpet Solos" Volumes 1 & 2 in previous lessons, and now you
should definitely get the Clifford Brown book mentioned above, and especially
the Miles Davis book. Six of the solos in that book are from tunes found in the
JA Miles Davis set that we're about to cover! Pretty sweet, huh?
This tune is in the key of F major. Measures 1 and 2 can obviously be dealt
with as being the I chord in the key of F major. Bars 3 and 4 seem to be a
II-V7 progression in Eb, but since they don't resolve regularly it's probably
best to think of them as I and IV in F minor. The G min chord in bars 5 and
6 can be handled with a G minor scale very logically. The Bb to Eb7 chords
in bars 7 and 8 appears to be a II-V7 in Ab, but since they resolve again in
an irregular fashion it's probably best to handle them as I and IV chords in
the key of Bb minor (very similar to how we treated bars 3 and 4).
The next section (bars 9 through 16) is basically two turnarounds in F major.
You will recall turnaround progressions like "III-VI-II-V" and "III-bIII-II-bII"
.
You should also remember that we can do a kind of "mix and match" with the
two turnarounds creating progressions such as "III-VI- II-bII", and (as in this
particular case) "III-bIII-II-V7". So these turnarounds in measures 9 thru 16
are a combination of the first two mentioned above. The second ending starts
with a "one bar II-V-I" in D minor (bars 28 and 29), but you'll find that these
and other measures can be handled differently than I've just suggested.
One possibility is to handle bar 28 as another C7 chord, leading to a I chord
(just as you did for the first ending). Then pretend that measures 29 through
32 are actually two turnarounds like the previous ones, except double timed
(only two beats per chord instead of four). These four measure do sound and
function like a pair of quick turnarounds, so substituting in this manner would
be perfectly acceptable. I can easily give theoretical justification for each on
e
of these suggestions, but at this point we simply need to get used to the idea
that if it sounds right... IT IS RIGHT. Don't get too hung up on the theory. Try
this strategy for yourself and you'll see that it sounds very correct, and it wi
ll
also simplify things greatly. Too often people think of the chord changes as a
kind of strict roadmap that must be followed at all times. If you study famous
solos as suggested in the previous lesson you will find many examples where
soloists play material that sounds fantastic but does not conform to any strict
rules of music theory. You have likely heard that any note can sound correct
with any chord if it is handled and resolved properly. This is very true!!
I will give examples of other options that I presented in recent lessons along
with all of the Miles Davis tunes we'll cover here... Most of you already know
how I teach theory and strategy first, then show specific examples of how to
apply it all with actual tunes afterwards. I always feel that playing things tha
t
"sound right" is more important than playing things that are understood to be
theoretically "correct" according to a mere analysis of the chord changes.
It helps to learn to improvise on some tunes without knowing the changes at
all. This often leads to some surprising discoveries. The most important thing
to remember is to use your ears as well as your eyes. Try working on "Four"
and other tunes using only the melody (and some variations) as your guide!!
This will open doors for you that you may not have discovered otherwise!
..........................
So... How do we get it out of there? Well, this is also quite simple. Perhaps
the simplicity of it all is the reason why this process is so often overlooked.
...........WE HAVE TO RECORD OURSELVES PLAYING AND SINGING!..........
Perhaps the best way to do this is with play along tracks. If you want some
blues licks... simply put on some blues tracks and start singing and playing
while recording yourself. Then come back later to the recordings and begin
transcribing the very best material that came out of you. If you want some
ii-V7-I material, then put on appropriate tracks and do the same thing, etc.
Think about this for a minute. You can really begin to learn all the material
you've been hearing in your mind already! When you sing... it might not be
perfectly in tune, but you can go back and figure out exactly what the ideas
were that you were trying to sing later on.
When you play in easier keys and record yourself, you will get at the exact
same kind of material again... This time it's the stuff you're already hearing
and using... but just not in all that many keys. If we learn how to play these
materials... then we'll truly be able to play what we hear, and THIS IS ONLY
JUST THE BEGINNING!
Later we branch out from here. We start to learn VARIATIONS on all of this
material. It's quite easy to learn variations and expand our boundaries very
quickly. This can lead to a virtual explosion in your growth, LEARNING HOW
TO PLAY THE MATERIAL WE ACTUALLY HEAR IN OUR HEADS ALREADY!
Of course, we need to expand our musical horizons by taking in all kinds of
material from purely external sources as well... (or we'd surely miss out on
a whole lot of great stuff...) but this concept of getting at the material that'
s
already waiting there inside our own heads is so productive... that it simply
cannot be overlooked!! This is easy to do... You sing and play... and simply
record it all, and then you transcribe. YOU'LL TRULY BE MINING FOR GOLD!
................................................................................
..........................
Please re-read this lesson a couple more times and really let it all sink in.
Take the time to truly grasp the weight of this!! I rarely hear anyone talk
about this, but I feel it may be the single most important thing I preach!
If we mearly plug in material that is understood to work, rather than play
material that we hear coming from our subcontious mind, then we're just
playing contrieved music. This is not real art! I'd rather play the stuff that
simply comes to me fully formed from my own inner mind. I hear it and I
play it. This is the most satistfying for me. This feels good and I know it's
really art. In the end it is largely made up of licks, but they are produced
spontaneously as part of a larger musical idea, and these ideas flow very
naturally, and from the heart!! It is also much more satisfying to play the
ideas I'm hearing than to think of licks that'll fit with some chord changes.
I'm not saying that licks we derive from purely external sources won't be
internalized eventually. These licks will become very familiar in time, and
they too will come bubbling up spontaeneously!! I'm just pointing out that
we all have alot of good material already inside of us, that needs to come
out and get used. One more side note: We will often find licks in books or
solos that happen to be material we like, and were already hearing in our
to slow down, so that the ideas have time to develop inside our heads. It's
so common for players to try to fill up the space with notes. They're really
preventing the flow of ideas by trying to force the process! You have to be
patient with yourself and let it all take time. Soon, your ideas begin to flow
more easily and naturally... becomiing a more fluid and melodic stream of
ideas.
Even the most advanced player will benefit greatly from this strategy. I've
seen both beginners and advanced players amazed by how much they can
improve by just slowing down... pausing more between the phrases... and
patiently waiting for the ideas to come.
................................................................................
...........................
This approach will help you to play meaningful ideas which flow beautifully
and logically when you perform, but it is also what you need to be doing in
your practice time, when you're mining for those golden licks I was talking
about in the previous lesson. The goal here is to learn the music theory so
well that you no longer have to think about it, then you will be able to play
the ideas that you hear in your head. It may sound like two seperate ways
of playing, but it definitely is not!!! We need to unite the two approaches in
order to benefit from both... so that our playing will have the sophistication
afforded by mastering the music theory, and yet exhibit all the beauty and
lyricism that comes by playing the ideas that bubble up from the depths of
our own inner minds. This is the purest form of the art, and it's a beautiful
and satisfying way to play.
Gradually you find that the ideas come to you in a more continuous stream
and flow smoothly... Eventually you begin to hear the next idea before you
are done playing the last one. You'll stay a little ahead mentally so that the
flow becomes uninterrupted. Even when you play long phrases, many bars
long, you still prehear each idea as you go along. To get to this point... you
will first start slowly, and pause often, to allow the ideas to begin to flow on
their own. This is true art, and you'll know it when it really begins to click!