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?Jazz Improv. IdeasNOTE: You MUST know all your major scales and modes, arpeggios and triads because I use numbers, not notes. I realize that can be frustrating. I would also like you to know the major and minor pentatonic, blues scale, bebop scale (major and minor), whole tone scale, diminished scale, altered scale (e.g. melodic minor, Locrian #2), and harmonic minor.Minor Reduction: this philosophy of improvising suggests that any major chord can be "reduced" to its Dorian minor counterpart to automatically give you "adult" chord tones.For example: 1. If you have an G major chord you should play the minor arpeggio or scale a major third up. This gives you the major 7th and #11. (e.g. Gmaj.7=Bm7).2. If you have a G7 you should play the minor arpeggio a fourth down or fifth up. This gives you the 13th, 9th, and 11th. (e.g. G7=Dm7).3. If you have an Em 1/2 dim. you should play the minor arp. or scales a min. 1/3 up. This gives you the #2 as well as the b3, b5, and b7 (e.g. Em 1/2 dim.=Gm)4. If you have a G+7(e.g. any number of substitutions) you can play the minor arp. or scale up one 1/2 step. This gives you the b5, #5, b7, b9, #9. This is the diminished whole tone or melodic minor.5. If you have a ii, V, I, (i.e. Dm, G7, C, you can play the minor arp. a minor third up from the ii to get the b9, #5, #9, or Dm, Fm, C).Pentatonic/Digital Permutations:It is crucial to have at least ten different "digital" pentatonic patterns memorized in all twelve keys. These are number patterns that correspond to notes in the scale and can be easily transposed from chord to chord in ii-V-Is.For example:Major patterns:1. 1, 2, 3, 5 2. 5, 3, 2, 1Note: the above work well in 4ths, -3rds, and chromatic.3. 3, 5, 6, 14. 1, 6, 5, 3Note: the above sound better isolated (i.e. modal)Minor patterns:1. 1, 2, b3, 52. 1, b3, 2, 13. 5, b3, 2, 14. b3, 5, b7, 95. 9, b7, 5, b36. 5, b7, 9, 5Dominant patterns:1. 2, 3, 5, b72. 9, b7, 5, 33. 3, 4, 5, b74. b7, 5, 4, 35. 5, 4, 3, 26. 2, 3, 4, 57. 1, b7, 6, 58. 5, 6, b7, 1ii, V, I patterns: ( 4 8th notes ea.)a. ii. 1, 2, b3, 5 V. 1, 2, 3, 5 I. 1, 2, 3, 5b. ii. 5, b3, 2, 1 V. 5, 3, 2, 1 I. 5, 3, 2, 1c. ii. 1, b3, 2, 1 V. 1, b7, 6, 5 I. 3, 2, 1, 3d. ii. 5, b7, 6, 5 V. 5, 4, 3, 2 I. 3, 2, 1, 9e. ii. 9, b7, 5, b3 V. 3, 4, 5, b7 I. 5, b5, 4, 3f. ii. 5, 6, b7, 1 V. b7, 5, 3, 1 I. 7, 5, 4, 3g. ii. 6, b7, 5, b3 V. 3, 4, 5, b7 I. 6, 5, 4, 3h. ii. 2, b3, 4, 5 V. 3, 2, 3, 4 I. 9, 1, 9, 3i. ii. 9, b7, 5, b3 V. b9, 5, 4, 3 I. 5, 7, 6, 5j. ii. b7, 5, b3, 1 V. #5, 4, b9, b7 I. 7, 6, 5, 3k. 5, b7, 6, 5 V. #5, 3, 1 , b7 I. 7, 6, 5, 6l. 1, b3, 2, 1 V. #5, 3, 2, b9 I. 5, 9, 1, 7m. 5, b3, 2, 1 V, #9, b9, b7, #5 I. 7, 6, 5, 3Note: these patterns should also be practiced with a b5 on each minor for the -ii V i. Also, it is always good to make up patterns for the I (one chord) The best one to start with is 1, 2, 3, 5. Of course there many others that you should "invent" on the "BLACK PAGE" in which you fill up the entire page with these types of patterns, but let's start with these...Also, you can "sideslip" pentatonic patterns, or practice playing them a half step up and down, slightly changing patterns each time to create a mature sounding "outside" idea.Half-Step Approach:Now that I have given you all the above ideas, start adapting them to approach scale tones from a half step away. Good tones to approach are the 1, b3, 5, 6,7, 9 of the minor and 1,3,5, b7, 9 a dominant. The key is to find the half steps that already exist and then create new ones. Minor half step idea: 2, 3, b9, 1, 2, 3, 5, 7, 9Do b7, b9, 1, 3 (the last two no9tes are also 5, 7of a major chord)/0Major: b5, 5, 7, 9, 1, 4, 3Tri-Tones:If you have ii, V, I you can substitute the tritone, or a dominant or minor pattern a half step down. With a Dm, G7, C, the second chord would be a Db7. Treating that chord with a simple lick (even Abm reduction) can get a lot of mileage.Modal Minors:One of my favorite things to do is substitute modal chords over one minor chord in a minor blues or modal tune like "Impressions", "So What", or "Footprints"For example:1. Dm7= Em7, Fmaj.7, G7, Am7, B 1/2 dim. (any scale or arpeggio)2. Practice "walking" each scale or arpeggio up from the 1, or 5 and play each corresponding triad to create rhythmic tension.3. Also practice the "in between" chords to create "outside" patterns and chromatic movement.Bebop Scales:Bebop scales utilize a flatted and major seventh. They sound cool because they are logically chromatic and include eight notes as opposed to seven. For example: Bebop minor: 1, 2, b3, 4, 5, 6, b7, 7Bebop dominant: 1, 2, 3, 4, 5, 6, b7, 7 1. Using these scales works great to play "across bar lines", meaning that you don't have to change scales from the ii to the V.2. There are several patterns that also include the flatted 5th that really work well ex. 1, 7, b7, 9, 6, 5, 1, b7, b5, 6, 5, 4, 3, 2, 1Turnarounds: A turn around is just like a “Rhythm” change pattern (I, vi, ii, V). There are several cool things you can do here:Play major to minor (C, Dm, C, Dm) using arpeggios to cycle through each modal chord.Play the blues scale (1, b3, 4, b5, 5, b7, 1)Play the relative minor which makes a “C6” sound (i.e. Am: 1, b3, 4, b5, 5, b7, 1) with the A being the 6th of I or C.Play the modified blues scale (1, 2, b3, 3, 5, 6, b7, 1) emphasizing the b3 an 6th creates a “swing era” sound. Play the bebop scale or any dom. 7th pattern treating the I as a b7 chord (C7): 1, 2, 3, 4, 5, 6, b7,7,1Play any longer minor pattern a fourth down (C7=G7) creating a I7(13) sound.Start with the iii (Em if it is the key of C) and use ii, Vs to cycle down to the I chord. Try this pattern: iii (5, b3, 1, b7) VI7 (3, 5, b7, 9) ii (5, b3, 1, b7) V7 (3, 5, b7, 9) I (5, 3). Play this same pattern with b9s. Creating a half. dim. cycling sound.Use tritone subs. Chromatically (i.e. Em, Eb7, Dm, Db7). Try this pattern: iii(5, b3, 1, b7), IIIb7 (1, 2, 3 5), ii (5, b3, 1, b7), V7 (1, 2, 3, 5), I (5, 7)You can treat the vi as a 1# dim (I.e. I, I#, ii, V) and it’s a great way to get to the ii as well. Try this pattern: I (5, 4, 3, 2) I#0 (1, b3, b5, 6) ii (5, b3, 2, 1,) II#0 (1, b3, b5, 6) iii (5, b3, 1, b7) VI (3, #5, #9, b9) ii (5, b3, 1, b7) V (3, #5, #9, b9) I (5)Giant Steps/circle of 5ths/tri-tone approach (1, b3, #5, #1, 1). Try this: I (5, 3, 2, 1) 3b (1, 2, 3, 5) 5# (1, 5, 3, 1) 1# (1, 2, 3, 5) I (5)Outside cycling. This applied dissonant ii, V cycles that eventually resolve (keep it simple here):iv#, VII, iii, VI, ii, V, I (in C: F#m, B7, Em, A7, Dm, G7, C). Try playing simple patterns for each ii, V in the cycle.Even more outsideness: I, I#o, ii, II#o, iii, VI, iv, VIIb, vii, III7, bvii, IIIb, vi, II, V#, I#, I. It’s best to play very simple patterns (i.e. minor lines over these kinds of multiple ii, Vs).Triad Subs.:Using triads can be the easiest way to get “outside” changes1. For major 7th chords play the major triad a whole step up for a b5, 6, 9, #11 sound. You can walk these up in whole steps on each scale degree and it creates an "in and out" feel.2. For minor chords play the major triad a 5th up or 4th down (e.g. Cm=G triad). This gives you the min./maj. 7th sound. Continue to "walk" up in whole steps for a whole tone sound that goes in and out.3. For dominant chords play the major triad a 1/2 step up or maj. third down (e.g. G7=Ab7, Eb7 respectively). This creates a "Giant Steps" sound or the b9, #5, #9 sound either way. If you go up a half step and then play each triad a fourth or fifth away it sounds really advanced as well (e.g. Bb7=B, E, A, D)Creating an outside circle of fifths feel.4. Play the triad a tri-tone away (see above). This gives you the b5, b7, b9. Then if you follow each triad up a fourth or down a fifth it walks you through an entire "outside" riff that will eventually end up back at one or a 1/2 step away from one (similar as above). When using the tri-tone, keep it simple. If you overhip, you will underhip.5. Play the major triad a minor 1/3 away. This gives you the #9, and b7. Again, if you walk up in 4ths or down in 5ths from there, it sounds like Trane.Diminished and Dim. Whole Tone Scales: Use these over b9, #9 or any altered chord.1. For a diminished chord play the diminished scale off the 1, b3, b5, b7. The arpeggio sounds great too. Very simple. There are three diminished families. Know them! The b3 dim. chord is the same as the 1 dim. Diminished chords are always a half step apart, you just have to know which one. Use the root!2. For any altered chord play the dim. whole tone or "altered" scale a half-step above. This is the same as the melodic minor, but starting a half step up (like with minor reduction).3. For any minor chord play dim. whole tone a 1/2 step below. The melodic minor and dim. whole tone are the same scale (see above)!4. For any b9 chord play the diminished scale or arpeggio a half step up.Whole Tone Scale and Rows: There are only two whole tone families, one half step apart. The whole tone scale is all whole steps, very simple.1. For any dominant chord play a whole tone scale or row starting on the 1 (e.g. for G7=1, 3, #5, 1 or 1, 2, 3, #5, b7. You can start on any scale degree and everything will repeat.2. For a minor chord play the whole tone row a 4th down or 5th up (e.g. Dm=A+ whole tone row). This gives you the +5, maj. 7th and b9. This will sound very outside.3. Play these chromatically up or down or a whole step apart to get really outside. If you are ever lost, play this riff and you will sound like Wayne Shorter or Herbie Hancock. When you are safe again, go back to the right chord. This is not cheating because everything is related to tri-tones and whole tone rows create a natural tri-tone.Class Licks:Short ii, V, Is: (all adapted from Trane)a) ii. 1, 2, b3, 5 V. 1, 2, 3, 5 I. 1, 2, 3, 5b) ii. 5, b3, 2, 1 V. 5, 3, 2, 1 I. 5, 3, 2, 1c) ii. 1, b3, 2, 1 V. 1, b7, 6, 5 I. 1, 2, 3, 5, 7, 6, 5d) ii. 5, b7, 6, 5 V. 5, 4, 3, 2 I. 5, 6, 1, 9, 3, 2, 1e) ii. 9, b7, 5, b3 V. 3, 4, 5, b7 I. 3, 5f) ii. 6, b7, 5, b3 V. 6, 5, 4, 5 I. 5, 3, 2, 1, 3g) ii. 1, 7, b7 V. 3, b9, b7, 5 I. 3, 3, 5, 3,1, 6, 5h) ii. 1, b3, 2, 1 V. 1, #5, 3, 1 I. 3, 5i) ii. 5, b3, 1, 7,5 V. 4, 2, 3, 5 I. 1, 3 j) ii. 6, b7, 1, 2 V. b7, 5, 3, 1 I. 3,5Long ii, V, Is:a) ii. 6, b7, 5, b3, 2, 1, 7, 1, 4, b3, 5, b7 V. 6, #5, 3, 1 I. 9 (Trane)b) ii. 2, b3, 7, 1, b3, 5, b7, 9, 11, b3, 5, b7, 9 V. 5, b5, 4, 5 I. 7 (Miles)c) ii. 9, b10, 7, 9, 1, b7, 6, 5 V. 1, 7, b7, 9, 6, 5, 1, b7 I.b3, 3, 6, b5, 9, 7, 1,3 (Miles)d) ii. 9, b10, 5, b7, 9, 1, 7, 9 V. 5, 4, 3, 2, 1, 7, b7, 1 I. 3, 4, b5, 5 (Miles)e) ii. 2, b3, 4, 5, b7, 9, b10, 9, 1 V. b5, 6, 5, 4, 3, 9, b7, 7 I. 5, 3, 4, 5, 6, 7, 8, 9 (Miles)f) ii. 1, 2, b3, 4, 5, (6, b7, 7) V. 5, 4, 3, 2, b9, 1, b7 I. 3 (Miles)Dom. 7:a) 1, 7, b7, 9, 6, 5, b5, 6, 5, 4, 3, 2, 1 (uses bebop scale)b) 1, 3, 5, b7, 9, 1, b7, 6, 5, 4, 3, 2, 1 (up 9th arpeggio and down scale--learn both ways)c) #9, 10, 1, 7, b7, 9, 6, 5, b5, 6, 5, 4, b3, 3, 1 (uses bebop) d) 6, b7, b5, 5, 6, 1, 6, b7, 9, 4, b3, 3, 5, b7, 9, 1, 6 (ala Miles/over 5 minor)e) b3, 3, 5, 4, b3, 3, 5, 6, 1, b7, 5 (ala Charlie Christian)f) #9, 9, 1, b7, 6, 5, b3, 3, 5, 1 (ala Charlie Christian)g) 3, 5, b7, 6, 5, b5, 6, 5, b5, 4, 5, 3 (Miles)h) b3, 3, 5, 6, 3, 1, 9, b7, 3, b5, 6, 5 (Parker)Long Minor 7:a) 4, 3, b3, 5, 2, 1, 4, b3, 7, 9, 1, b7, 6 (uses bebop scale)b) 1, b3, 5, b7, 9, 1, b7, 6, 5, 4, b3, 2, 1 (up 9th arpeggio and down scale--learn both ways)c) 6, b7, 5, b3, 2, 1, 7, 1, 4, b3, 5, b7, 9, 1, 7, b7, 6 (adapted from Coltrane)d) 1, 2, b3, 4, b5, 5, b7, 5, 6, b7, 1, 2, 4, 2, b3, 5 (ala Pat Martino)e) 2, b3, b9, 1, b3, 5, b7, 9, 11, b3, 1, b3, 5, b7, b6, 6, 9 (ala Miles)f) b7, 9, b9, 6, 1, b7, 6, 5, 4, 2, b3, 5, 2, 1 (ala Pat Martino)g) 1, b3, 5, 7, 9, 11, b3, 2, b9, 1, b7, 5, 4, b3, 2, 1 (ala Pat Metheny--learn up and down)h) 2, b3, 2, 1, 7, b6, 4, #4, 5, b7, 5, b5, 4, 2, 3, b9, b3, 7, 5 (ala Pat Metheny) I) 4, 3, b3, 5, 7, 9, 11, 3, b3, 1, 2, b3, 2, 1, 7, b7, 6, 5, 4, 5 (Metheny)see also you tube channel: ................
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