Intermediate Guide To Jazz Improvisation - MATT WARNOCK GUITAR

28/11/2016
IntermediateGuidetoJazzImprovisation|MATTWARNOCKGUITAR
MATT WARNOCK GUITAR

Intermediate Guide to Jazz Improvisation
Alongwithlearninghowtoplaychords,scales,andarpeggios,buildingyourjazzimprovisationskillset
isessentialinyourdevelopmentasajazzguitarist.
Whensoloingwithscalesandarpeggios,thoughthenotessoundcorrect,theycanlackthatspecial
somethingthatmakesyourlinessoundlikeyourfavoritejazzguitarist.
Thisspecialsomethingisjazzvocabulary.
Bymixingclassicjazzvocabularywithyourknowledgeofscales,chords,andarpeggios,youllbuilda
strongfoundationinthejazzlanguage.
Thisvocabularywillallowyoutobuildupfromthatstrongfoundationasyouprogressinyourjazzguitar
journey.
Inthisintermediatejazzimprovisationguide,youlllearnoneofthemostimportant,anddifficult,skills
thatanyjazzguitaristcanposses:
Seeingonechordandplayinganother.
Byexploringvariousapproachestothistechnique,youllexpandyourjazzvocabulary,hipyourlinesto
newareasofthejazzlanguage,andbuildyourconfidenceasajazzguitaristallatthesametime.
FreeJazzGuitareBook:DownloadafreejazzguitarPDFthatllteachyouhowtoplayjazzchord
progressions,solooverjazzchords,andwalkbasslines.
Seeing One Chord and Playing Another
Themainchallengepresentedinthisarticlewillbetoseeonechordsymbolonapage,sayGmaj7,and
solousinganotherchord,suchasBm7,asyoubegintostretchyourchopsinthewoodshed.
Thisconceptcanbeabighurdleformanyguitariststotackleintheirpracticeroutine.
http://mattwarnockguitar.com/intermediatejazzguitarvocabularyguide
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But,itlladdanumberofnewcolorstoyoursoloinglines,openupyourfretboard,andbringanewlevel
ofsophisticationtoyourimprovisations.
Throughoutthisarticle,keepinmindthefollowingpracticegoal:
Thegoalofthisarticleistogettothepointwhereyoueliminateanymentalmathwhensoloing.
Learningtoseeyoursecondarychordasyourfirstchoice,notinrelationtothefirstchord,butasthe
firstchorditself.
Ifyoucanlearntodothis,whichwilltaketimeandpractice,youllbeabletoquicklyapplyallofthese
harmonicconceptstoyourjazzsoloinglinesinthemoment,nothinkinginvolved.
Asyouworkthroughthismaterial,youllfocusyourstudiesonfivemainintermediatejazzguitar
concepts.
Allofwhichwillbuildyourabilitytoseeonechordandplayanotherinyoursoloing.
These5conceptsare:
3to9Arpeggios
MinorConversion
Sidestepping
TritoneSubstitution
TritonePairing
Learningtoseeonechordwhileplayinganotherisprobablythebiggestchallengeyouwillfaceasan
intermediatejazzguitarist.
Anditcantakealotofpracticetomasterthisimportantskill.
Whileitlltakeeffort,thattimespentinthewoodshedwillpayoffasyoutakeyourjazzsoloingskillsto
thenextlevel.
Nowthatyouvelookedatwhatyouwillbestudyinginthisarticle,itstimetoplayasyoutakethese
conceptsoffthepageandontothefretboard.
Intermediate Jazz Improvisation Arpeggios
TobeginyourstudyofIntermediatejazzimprovisation,youllapplyanumberofadvancedconceptsto
arpeggios.
Thenyoulltakethosearpeggiostocommonjazzchordprogressionsasyouapplythisknowledgeto
practical,musicalsituations.
Foranyoftheseexamples,makesuretoplaytheminmultiplekeys,changethefingerboardpositionsif
possible,andapplythemtotunesinthewoodshed.
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Workingtheseconceptsfromastrictlytechnicalperspectivewillhelpseethemonthefretboard.
But,realgrowthwilloccurwhenyoutakethemtoasoloingsituationovercommonprogressionsand
jazztunes.
Beingabletorunatechniquewithametronomeisagoodstart,butbeingabletobecreativewiththat
sametechniqueoveratuneshowsahigherlevelofcontrolandinternalizationofthatsameconcept.
Alwaysaimtobringthese,andany,concepttoyoursoloinglinesandphrases.
Thisllshowyouwhereyouvegrown,andwhereyoustillneedwork,asajazzguitarist.
3 to 9 Arpeggios 1 Major ii-V-I
Thefirstconceptyoullstudyinthislessonisthe3to9arpeggio.
Thisisacommonlyusedarpeggioconceptusedtoaddcolorandavoidtherootnoteinyourlines.
3to9arpeggiosarebuiltbyplayinganarpeggiofromthe3rdofanunderlyingchord,outliningthe3rd,
5th,7th,and9thofthatchordintheprocess.
Heresanexampleofhowa3to9arpeggiowouldbeappliedtoaCmaj7chord.
Inthiscase,youreplayinganEm7chordoverCmaj7tooutlinetheintervals3,5,7,and9.
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Nowthatyouknowhowtoapply3to9arpeggiostoonechord,youcanapplythisconcepttoamajorii
VIchordprogression.
YouwillthechordsAm7D7Gmaj7inthegivenkeyofGmajor.
Asaquickreference,herearethe3to9arpeggiosform7,7,andmaj7chords.
m7=Maj7arpeggiofromb3
7th=m7b5arpeggiofrom3
Maj7=m7arpeggiofrom3
Oneofthebiggestadvantagesofusing3to9arpeggios,isthatyoureabletoaddcolor,avoidtheroot,
andonlyusearpeggiosthatyoualreadyknow,suchasm7,maj7,andm7b5shapes.
Theresnonewlearningneededtoexplore3to9arpeggios.
Youjustworkoutanewapplicationofpreviouslylearnedmaterial.
Now,timetoapplythisknowledgetothefretboardbyworking3to9arpeggiosinfourexercisesover
majoriiVIchordchanges.
Onceyoucanplayanyoftheseexerciseswithametronome,inanumberofkeys,applythesame
exercisestootherfingeringsyouknowforthesearpeggiosonthefretboard.
Aswell,makesuretoputonaiiVIbackingtrackandsolousingthese3to9arpeggiosoverthose
chordchangesinordertoworkthisconceptfrombothatechnicalandimprovisationalstandpoint.
Exerciseonefeaturesascending3to9arpeggiosovereachchordintheprogression.
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Youcannowpracticedescending3to9arpeggiosovereachchordinthechanges.
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Withthefirsttwovariationsunderyourbelt,youcanbegintoalternatethosearpeggiosbyplayingone
upandonedown.
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Thefinalexerciseisthereverseofthepreviousexercise,whereyounowplaythefirstarpeggiodown
andthesecondarpeggioup,alternatingaroundthechangesfromthere.
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Nowthatyouveapplied3to9arpeggiostoatechnicalworkout,heresasamplelickthatyoucanlearn
thatusesthesearpeggiosovereachchordinanimprovisationalsetting.
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Learnthislickin12keysandpracticeapplyingittotunesyouknoworarestudyinginthepractice
room.
Whenthatssolid,writeoutafewsamplelinesofyourownusing3to9arpeggios.
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Takeyourtimewiththeseexercises,andimprovisingwith3to9arpeggiosovermajoriiVIchanges.
Thisisespeciallyimportantifthisisthefirsttimeyouveseenonechordandplayedanother.
Itlltakeabitoftimeuntilthisbecomesnatural.
But,withpracticeandfocusinthewoodshed,youllbeabletoapplythisconceptwithconfidenceto
yourjazzguitarsoloing.
3 to 9 Arpeggios 2 Minor ii-V-I
Aswellasapplying3to9arpeggiosovermajoriiVIchanges,youcanapplythesameconceptto
minoriiVIchordchanges.
Thoughinthiscaseusingdifferentchordqualitiesandabitofcautionovertheiim7b5chord.
Herearetheformulasforeachchordintheprogressioninordertobuilda3to9fromthesechanges.
iim7b5=m7fromtheb3
V7b9=Dim7fromthe3
Im7=Maj7fromtheb3
Beforeyougoon,youllneedtoaddresstheiim7b53to9arpeggio,asitsabittenserthantheother
chordsyouveseensofar.
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Whenyouplayam7arpeggiofromtheb3ofanym7b5chord,youlloutlinetheintervalsb3b5b7b9,
withtheb9beingthestickypointinthiscase.
Thisisnttosaythatyoucantusethatcantusetheb9inthissituation.
But,ifyoufinditabittoooutsideforyourtaste,playthenormalRb7arpeggiooveriim7b5chords.
Thenuse3to9arpeggiostosoloovertheothertwochangeswheretheyareaneasierfit.
Giveitatryintheexamplesbelowandseewhatyouthink.
Itmighttakesometimetogetused,butwithabitofpracticeyoumightcometolovethattensionover
them7b5chord.
Nevereliminateaconceptfromyourpracticethatdoesntsoundgoodtoyoutoday.
Yourearswillchangeovertimeandsuddenlyideasyoudidntlikeinthepastwillsoundgreattoday.
TobeginyourpracticeofminoriiVI3to9arpeggios,heresanexampleofthoseshapesplayed
ascendingovereachchord.
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Movingon,heresthedescendingversionofthosearpeggiostoworkoutinyourpracticeroutine.
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Thenextvariationfeaturesandalternating,oneuponedown,approachtopracticingminoriiVI3to9
jazzguitararpeggios.
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Thefinalexercisehasyoubeginwithadescendingarpeggiofollowedbyanascendingarpeggio.
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Afteryouvepracticedthesetechnicalexamples,heresasamplearpeggiolickoveraminoriiVI
progressioninAmthatyoucanlearn,workin12keys,andaddtoyourjazzguitarsoloing.
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Afteryouworkoutthislick,writeout3to5ofyourownoverthesamechangesinordertotakethis
approachfurther.
Minor Conversion 1 Major ii-V-I
IfyouhaveeverlistenedtojazzguitaristssuchasWesMontgomeryorPatMartinoandthought:
Howdotheygetthatcoolsoundintheirlines?Itsoundssosmooth.
Theansweristheminorconversionconcept.
Minorconversionisaneasyconcepttounderstand,butlltaketimetobeabletosolowithitinthe
momentwithconfidence.
Theminorconversionconceptmeansthatyoureplaceanychordyouaresoloingoverwitharelated
m7chordfromtheunderlyingkeycenter.
Tobeginyourstudyofthisconcept,youllapplyittotheVandIchordsofamajorkeyiiVIinyour
practiceroutine.
WhenapplyingaminorconversiontoaV7chord,youwillsimplycontinuetousetheiim7arpeggioover
thatchordchange.
ThismeansthatifyouareplayingoverDm7G7Cmaj7,youwilluseDm7overbothDm7andG7in
yourlines.
Hereshowthatsoundsontheguitar.
PayattentiontohowtheDm7arpeggiochangescolorwhenplayedoverG7,asitoutlinesthe5b79
11intervalsoverthatchord.
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Asanexercise,putonaiiVIbackingtrackandsolooverboththeiim7andV7chordswiththeiim7
arpeggio.
Thisllhelpyouunderstandandheartheconceptinamusicalsituation.
Tohelpyoubeginwiththisapplication,heresasamplelinethatusestheminorconversionoveraV7
chordinaiiVIprogression.
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Thenextminorconversionwillbetoplayavim7chordovertheImaj7chordtocreateaI6soundin
yourlines.
InthekeyofC,thiswouldmeanplayingAm7overCmaj7.
Whendoingso,yououtlinetheintervals6R35,removingthe7thandcreatingasoftersoundin
yourimprovisedlines.
Hereshowthatsoundsoveraiim7V7Imaj7progressioninCmajor.
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Whenyouveplayedthroughthisexample,putonabackingtrackandsolooverthechangesusingthe
minorconversionoverImaj7inthosechanges.
Heresasamplelinetogetyoustartedwiththisapplicationinyourstudies.
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Wheneachofthesesubsiscomfortable,applyboththeV7andImaj7minorconversionstotakethis
exerciseastepfurtherinyourstudies.
Tohelpgetthissoundintoyourplaying,hereisaiiVIlinethatappliestheminorconversiontoboththe
V7andImaj7chords.
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Minor Conversion 2 Jazz Blues
Nowthatyouknowwhattheminorconversionconceptis,youcanpracticeapplyingittothemost
commonjazzchordprogression,thejazzblueschordprogression.
Inordertoaccomplishthisgoal,youwillneedtoreplace4differentchordsinyoursolo.
InthekeyofFblues,thesesubswouldbe:
F7replacedbyCm7
Bb7replacedbyFm7
D7b9replacedbyF#dim7
C7replacedb7Gm7
Asthe7thchordswillbefamiliartoyoufromtheprevioussection,youonlyhavetolearnabout
applyingminorconversionsto7b9chordsinthisapplication.
Whendoingso,youareoutliningtheintervalsb7b911b13.
ThismeansthatyouarecreatingaD7sus(b9,b13)soundwhenapplyingittothiskeycenterfor
example.
Again,youarecreatingamodalsoloingsoundwhenusingminorconversionovertheVI7b9chordina
jazzblues,whichwillmodernizeyoursoundoverthatchange.
HeresanascendingarpeggioexercisetopracticeoveranFblueswithminorconversions.
Tohelpyoupracticetheexercisesinthissectionofthearticle,hereisanFbluesbackingtrackthatyou
canuseinthewoodshed.
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Movingon,youcanworkdescendingarpeggiosoverthesameprogression.
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Thenextexerciseconsistsofplayingonearpeggioup,followedbyonearpeggiodown,overeach
chordchange.
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Thefinalexercisewillfeatureonearpeggiodownthenonearpeggioupoverthesamechords.
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Afteryouveworkedouttheseexercises,putonajazzbluesbackingtrackandsolooverthosechanges
usingtheminorconversionforeachchordinthetune.
Arpeggio Sidestepping
Thefinalarpeggioconceptinthislessondigsintooneofmyfavoritesoloingapproaches,arpeggio
sidestepping.
Again,thisisanothersimpletounderstandapproachthatcantakemeasurabletimeinthewoodshedto
properlygetunderyourfingersandintoyourplaying.
Sidesteppingiswhereyoumovebetweentheunderlyingchordandoneahalfstephigher,creatinga
tensionandreleasesoundinyourlinesintheprocess.
Whenapplyingthisconcepttoyourarpeggiosoloinglines,theinsidesoundisthechordyouareon,
andtheoutsidesoundisthechordonefrethigherthatyouremovingtoinyoursolo.
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Thekeytoasuccessfulsidesteplineisnotsteppingoutsideitsbringingeverythingbacktotheoriginal
chord.
Leavingalinehangingovertheoutsidesub,ornotresolvingalineproperlywhensidestepping,can
leadtothisconceptsoundinglikeamistakeratherthanahipphrase.
Becausethisconceptisfairlystraightforward,thebestwaytopracticeitistoputonabackingtrackand
solooverthosechanges,applyingsidesteppingtoyourlinesasyoudo.
Hereare5progressionstoworkonwithsidestepping,inorderfromeasiesttohardest.
Staticchordm7,7,maj7,etc.
iiVChords
iiVIMajorKeyChords
iiVIMinorKeyChords
JazzBluesChords
Tohelpyougetstartedwiththisconcept,heresastaticAm7lineusingsidesteppingoverthatchange.
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Aswell,heresaiiVIlineinthekeyofDthatyoucanpracticewhenfirstlearninghowtoapply
sidesteppingtothesechanges.
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Lastly,heresaminoriiVIlineinAmthatusessidesteppingtocreatetension,whichisreleased,over
thosechanges.
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Arpeggiosidesteppingcanbetoughatfirsttogetsmoothinyoursolos.
But,withtimeandpractice,youllbeabletousethisconcepttohipupyourlines,andbringamodern,
insideoutsidesoundtoyourjazzguitarsoloing.
Intermediate Jazz Guitar Arpeggio Solo
Afterexploringthesejazzguitararpeggioconcepts,youcanlearnthissamplesoloingstudy,which
appliesthesearpeggiostoamusicalsituation.
ThestudyiswrittenoutoverthechordchangestothepopularjazztuneSummertime.
Youcanlearnthesoloasawhole,orbreakitdowninto4barchunksifyouneedtoisolatephrasesin
yourstudy.
Oncethissoloisunderyourfingers,trywritingoutandmemorizingasamplearpeggiosoloofyour
own,usingtheconceptsfoundinthislesson.
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Intermediate Jazz Improvisation Scales
Nowthatyouveexploredtheideaofseeingonechordandplayinganotherwitharpeggiosinajazz
improvisationsituation,youcanmoveontoapplyingsimilarconceptstoyourjazzguitarscalepractice
andsolos.
Asscaleshavemorenotesthanarpeggios,theycanbemoredifficulttomanipulateandmaneuverthan
arpeggioswhenapplyingthemtomoreadvancedjazzconcepts.
Becauseofthis,whenyoutakeanyoftheseconceptstoyoursoloing,startwithmoremodal,longer
harmonicmovement,suchasSoWhat,MaidenVoyage,andMilestones,inordertogetusedto
theseconceptsonslowerprogressions.
Thentakethemtotuneswithfastermovingchanges.
Aswasthecasewiththearpeggioexamples,makesuretopracticethesescaleexercisesin12keys,
aswellasworkthemwithbothametronomeandoverjazzprogressionsandtunesinyourstudies.
Tritone Subs
Evenifyouhaventattemptedtoplayonechordwhileseeinganother,youveprobablyheardofthe
tritonesubtechnique.
Itisthemostcommonoutsideconceptinjazz,andsomethingthatyouveprobablyreadaboutmany
timesbutmightnotfullyunderstandyet.
Tritonesubsarewhenyouseeonechord,thenplayanotherchordatritoneawayfromtheunderlying
change.
ThemostpopularapplicationofthistechniqueisoverDominant7thchords.
Thisiswhereyouseeone7thchord,C7forexample,andyousoloovera7thchordatritoneaway
fromthatchord,F#7.
HeresalinethatusesatritonesubovertheV7chordsothatyoucanhearthistechniqueinaction.
NoticehowthetritonesubresolvesintotheImaj7chordinbar3ofthephrase.
Thisisessential,resolvingtothenextchord,whenapplyingoutsidesoundssuchasthistoyourlines.
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Whenyouapproachtritonesubsfromascalepointofview,youcanuseanyofthemodesthatyoud
normallyapplytothatchord.
Forexample,overatritonesub7thchord,youcoulduse:
Mixolydian
LydianDominant
AlteredScale
PhrygianDominant
BebopScale
Ifyourenewtoapplyingtritonesubstoyoursolos,itsbesttobeginwiththemostdirectmode,then
workingtomorecomplexsoundsfromthere.
Nowthatyouknowhowtoapplytritonesubsto7thchords,putonabackingtrackandsolooverthose
changeswithatritonesubappliedtotheV7chord,resolvingittothenextchordintheprogression.
Aswellasthemorecommontritonesubover7thchords,youcanapplythisconcepttoanychordyou
aresoloingovertobringamoremodernjazzsoundtoyourlines.
Whendoingso,youllwanttousethesamechordqualityasthechordyouaresubbing.
ThismeansthatifyoureplayingatritonesubofDm7,yousolowithAbm7.
Indoingso,youresteppingoutsideofthechordchanges,byseeingonechordandplayinganother,
butthecommonchordqualitybringsasenseofcohesiontothelinealongtheway.
Heresanexampleofhowyoucouldapplyatritonesubtoam7chord,inthiscaseAbm7playedover
Dm7,whichresolvesintothesecondbarofthephrase,theV7chord.
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Onceyouveplayedthroughthissampleline,putonam7backingtrackandpracticeapplyingtritone
sublinestoyourownsolos.
YoucanalsoapplytritonesubstoMaj7chords,suchasinthisexamplewhereyouuseanF#maj7
chordoveraCmaj7chordinaiiVIprogression.
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Aslongasyouresolvethetritonesubbackintothenextchord,orunderlyingchordifitslongerthan
onebar,itllworkout.
Ifyoudontresolvethesub,well,itwontworkoutsowell.
Noticethatsincethechordinbar4isthesamechordasyoursub,Imaj7,youllresolveyourlineinto
thattonicsound.
Thisisabitofapreviewofthenextsection,tritonepairing,whereyoullmovebetweenboththe
underlyingchordanditstritonesuboverthesamebarinyourlines.
Onceyouveexploredthese3examples,findotherchordsthatwillworkwithtritonesubs.
YoucanbeginwithminoriiVIchanges,orajazzblues,orapplytritonesubstoanyjazzstandard
yourelearninginthewoodshed.
Experimentationisyourbestfriendwiththisconcept,asitsfairlystraightforwardonpaper,buttomake
tritonesubssoundgoodtakestimeinthewoodshed.
But,onceyougetthisapproachdown,itlladdanessentialjazzconcepttoyoursolos,gettingthathip
jazzsoundinyourlinesatthesametime.
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Tritone Scale Pairing
Youcannowmoveontoavariationofthetritonesubtechnique,whereyouwillnowfreelymove
betweentheunderlyingchordanditstritonesubinyourlines.
Whereasbeforeyouresolvedthetritonesubintothenextchordintheprogression,hereyoullresolve
thesubintothesamechordyouresoloingover.
IwasfirstintroducedtothisconceptintheplayingofWoodyShaw,whousedpentatonicscaleswith
thistechniquetogreateffectinhisplaying.
Inthisfirstsampleline,youllseethisconceptappliedtotheDm7chord,theiim7chord,asyoumove
betweenDm7andAbm7inthatbar.
Listenfortheslipperysoundthisproduces,howitcreatesmomentarytensionthatisthenquickly
resolvedbacktotheunderlyingchord.
Thisisincontrasttothetritonesubapproach,whereyoucreatealongersenseoftensionbefore
resolvingthattensiontothenextchordintheprogression.
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Movingforward,hereisthesametechniqueappliedtotheV7chordinaiiVIprogression.
Afteryouvetriedthesetwosamplelines,putonabackingtrackandbegintosolowiththistechniquein
yourownplaying.
Whendoingso,youcanbeginwithastaticm7or7thchordbackingtrack,workingonlyonechord,
beforemovingontoimprovisingwiththisconceptoverfullprogressionswhenyoufeelready.
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ThelastexamplelineappliesthetritonepairingtechniquetotheImaj7chordinthesameprogression.
Asyouhavemoretimeonthischord,twobars,thereismoretimetoexperimentandstretchoutover
thatchange,givingyouampletimetoaddtheconcepttoyoursolos.
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Aswellasworkingonapplyingthisconcepttoyoursoloingpractice,youcanworkonafewofmy
favoritepatternsinthetechnicalsideofyourpracticing.
Inthisfirstpattern,youclimbupthe1234notesofeachchord,theunderlyingDm7anditstritonesub
Abm7.
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ThesecondpatternistheclassicJohnColtrane1235grouping,againappliedtoboththeunderlying
chordanditstritonesub.
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Thefinalpatternisadescendingline,8765,overbothchangesasyouworkyourwaydownthe
fretboard,hittingtheunderlyingchordanditstritonesubalongtheway.
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Scale Sidestepping
Aswellasapplyingsidesteppingtoarpeggios,youcanbringscalesintoyoursidesteppinglines,but
withabitmorecautionthanwhenyououtlinechordtonesinyoursolos.
Becausescaleshave7or8notes,comparedto4notesinanarpeggio,sidesteppingcangetabit
messyifyoutrytocraminallofthosenotesoverasingleline.
Whenapplyingsidestepping,playingtheunderlyingchordandoneahalfstepabovethatchord,trynot
toplaytoomanynotesinyourlines.
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Youcanstillusescales,andifyoucandoitmusicallyusingmorenotescanwork,butmoreoftenthan
notelessismorewhenitcomestoscalesidestepping.
Tobegin,putonastaticchordbackingtrack,forexampleaDDorianBackingtrack,andsolooverthat
Dm7chordwithDDorianandEbDorianasyousidestepoverthatchange.
Howdiditsoundtoyou?
Wereyouabletousethelessismoretechniquetooutlinethosechanges?
Ifyourenewtousingscaleswithsidestepping,oneofthebestwaystointroducethisconceptistoplay
oneideaoverthediatonicchord,thenplaythesameideaovertheoutsidechord,thenreturntoa
variationoftheoriginalideaoverthediatonicchord.
HeresanexampleofthatapproachoveraDm7chord.
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YoucanalsohearanexampleofthisideaoveraG7chord.
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Nowthatyouvecheckedoutafewexamplesofhowtoapplythisapproachtoyourplaying,putona
backingtrackandbegintoapplythemelodicmotiveapproachtosidesteppingtoyourownsolos.
Tofinishupyourintrotoscalesidestepping,heresasamplelickoverthefirst8barsofBlueBossathat
youcanpracticeandapplytoyourownjazzguitarsoloing.
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Afteryouveexploredthisconceptonyourown,practicesidesteppingbymixingarpeggiosandscales
togetherinyourlines.
HeresanexampleofthatapproachoverastaticCmaj7chordbeforeyoumoveontoapplyingitto
yourownimprovisedlines.
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4th Intervals
Whenlookingtoexpandyourplayingintoamoremodernfeel,4thintervalsareoneofthemostdirect
waystoreachthatgoal.
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While3rdintervalsaregreatforoutliningchordchangesinamoretraditionalfeel,4thsallowyouto
playoverthechangesbutwithamoreopensoundingvibetoyourlines.
Thisopensoundhidestheunderlyingchordqualitycomparedto3rds,whichisoneofthereasonsfor
themoremodernsoundofthe4thinterval.
Tobeginyourpracticeof4thintervals,hereascending4thsappliedtoanEDorianscale,whichyoucan
learninthiskeyandthentaketoall12keysinyourstudies.
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Heresthedescendingversionofthose4thsthroughthesamescale.
Makesuretopracticethesepatternswithametronometogetthemostoutofyourtimeinthepractice
room.
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Lastly,heresanalternatingapproachto4thintervalsoverEDoriantopractice.
Onceyouhavelearnedthis,orany,4thintervalpattern,makesuretoputonabackingtrackandapply
ittoyoursoloingpracticeaswellasyourtechnicalstudy.
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Tohelpyougetstartedwithsoloingusing4thintervals,hereareafewsamplelinesthatyoucanstudy,
aswellasworkintoyoursolosasyoutake4thsintoyourimprovisationalpracticetime.
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ThisfirstlickisplayedoveraiiVIprogressioninDmajoranduses4thintervalsovereachchordinthe
progression.
Clicktohear
Vm P
Movingon,thislickisplayedoveraminoriiVIprogressionwith4thsappliedtoeachmodeinthe
changes.
Clicktohear
Vm P
Lastly,hereisa4thbasedlickoverthefirstfourbarsofRhythmChangesinBb.
Afteryouvelearnedthesethreelicks,writeoutthreeofyourowntotakethemfurtherinyourstudies.
Clicktohear
Vm P
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4th Chords Through Scales
Ifyouarelookingtoexpandupon4thintervalsinyourpracticingandsoloing,youcanworkon3note
4thchordsthroughscalesandmodes.
Whendoingso,youreaddingonenotetotheprevious4thexercises,whichsoundseasybutcanbe
verydifficulttofingerandworkoutsmoothlyontheguitar.
Becauseofthis,takeyourtimewithanyoftheseexercises,andmakesuretopracticethemwitha
metronometoensuretheyresmoothandflowinginyourplaying.
Itsbettertobeslowandsmooththanfastandchoppywiththis,orany,exercise.
HeresanascendingexercisethroughADorianthatyoucanstudy.
Clicktohear
Vm P
Andheresthesameexercise,thoughwithdescendingintervalsthroughADorian.
Clicktohear
Vm P
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Lastly,youcanrunthese4thchordsoneupandonedownasyoutakethemtothenextlevelinyour
studies.
Clicktohear
Vm P
Afteryouveworkedoutthesecoolsoundingchordsinyourtechnicalroutine,youcanpracticethem
fromanimprovisationalstandpoint.
Togetyoustarted,hereisaiiVIlickinGmajorthatuses3note4thchordsovereachchangeinthe
progression.
Clicktohear
Vm P
Thenextsampleline,overaminoriiVIprogressioninEm,worksthesechordsintothelinebutmore
spreadoutthanthepreviousexample.
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Clicktohear
Vm P
Thefinal4thchordlickisplayedoverthefirst8barstoSummertime,andweavesthese3noteshapes
overvariouschanges.
Whenyouhavethesethreelinesdown,writeafewofyourownasyoubegintobridgethisapproach
fromyourtechnicaltosoloingstudies.
Clicktohear
Vm P
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Intermediate Jazz Guitar Scales Solo
Tohelpyouapplythesescaleconceptsinapractical,musicalsituation,heresasamplesolowrittenout
overthechordchangestothejazztuneSunny.
Beforeplayingtheentiresolo,trylearningitin4barphrases,thenbuilduptheentiresolofromthere.
Aswell,onceyougetthesolounderyourfingers,frommemory,writeoutaonechorussolostudyof
yourownusingthescaleconceptsfromthislesson.
Clicktohear
Vm P
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How to Practice Intermediate JazzImprovisation
Nowthatyouvecheckedoutthevariousarpeggioandscalebasedlanguageinthislesson,you
canplanoutyourapproachtopracticingtheseitemsinyourstudies.
Heresalistof7exercisesthatyoucandoinordertoensurethatyougetthemostoutoftheconcepts
inthislesson.
1.Playachordandsinganyarpeggioorscalepatternfromthislesson.Moveontofullchord
progressionswhenready.
2.Playanyscaleorarpeggiopatternfromthislessonasyousingtherootofeachchordunder
thosepatterns.
3.SolooveramajororminoriiVIusingthematerialinthislessonasthebasisforyourlines.
Repeatin12keys.
4.Writeoutafewlinesusingtheconceptsinthislesson,playthoselinesin12keysandapplythem
toyoursoloingpractice.
5.Writeoutafullchorusofsolousingthematerialinthislesson.Playthesolowithabackingtrack
frommemory.
6.Transcribeasolobyyourfavoriteplayer,labelalltheitemsyoustudiedinthislessonthatyou
canfindinthatsolo.
7.Takeanylinesinyourtranscriptionthatusetheconceptsfromthislessonandrunthemthrough
exercises14.
Thegoaltolearningimprovisationalvocabularyistointegrateitintoyourplayinginanaturaland
organicfashion.
Makesuretoworkanyitemfromthislessoninbothatechnicalandimprovisationalstandpointsothat
youpracticeintegratingthislanguageintoyourjazzguitarsolos.
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Intermediate Guide To Jazz Improvisation - MATT WARNOCK GUITAR

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28/11/2016

MATT WARNOCK GUITAR

Seeing One Chord and Playing Another

Intermediate Jazz Improvisation Arpeggios

3 to 9 Arpeggios 1 Major ii-V-I

3 to 9 Arpeggios 2 Minor ii-V-I

Minor Conversion 1 Major ii-V-I

Minor Conversion 2 Jazz Blues

Intermediate Jazz Guitar Arpeggio Solo

Intermediate Jazz Improvisation Scales

Tritone Scale Pairing

4th Chords Through Scales

Intermediate Jazz Guitar Scales Solo

How to Practice Intermediate JazzImprovisation

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