Lesson 5: Advanced Soloing

Getting Outside

In jazz a popular concept that is often employed to "get outside the changes" is one called in-out-in. It simply means playing within the changes, abandoning them to create tension, then using them to reslove.

An great way to do this is to play a tritone [b5] away during the out part of the phrase. Als0, you can play a half step [b2] away before resolving.

Another thing to try is using sequences that don't relate to the key. An example is if you are in C major, you start off with a Cmajor 9 arpeggio then you go to an Emajor 9 arpeggio [In c it would be minor] then to a G# Major 9 arpeggio then back to Cmajor.

Remember Structure creates temporary harmonic stability even with dissonance.***

Super-imposing Chords

Popularized by jazz artists in the late fifties and sixties [especially John Coltrane] A cool way to get outside the changes is to super-impose other changes that you know will work over top.

For our first example we'll use a blues.

Original Chords:
C7 - F7

Super Imposed Chords
C7 Eb7 F#7 - F7

Note:
This implied progression works over C7 because of the relationship between dominant and diminished chords. Because a diminished chord is three minor 3rds put together there are only three diminished chords with enharmonic names. For example, C# dim7, E Dim7, G dim7, and Bb dim7, all contain those four notes. Now how does this relate to dominant chords you ask? Well if you add a root a 1/2 step lower to each chord they become dominany b9 chords. C7b9, Eb7b9, F#7b9, and A7b9. These four chords can be treated as the same chord and as such can be substituted or super-imposed.

There are also other chords you can super-impose that won't sound too dissonant as they are diatonic [relating to the key] but don't strictly follow the original progression. An example is if you treat an A minor chord as a C major chord. As long as the A minor is a tonic and not apart of a ii-V-I then both belong to Cmajor and share 3 chord tones.

You can also super impose chords that will imply altered extensions of the original chord, For example if you play an ebmaj7 arpeggio over a D7 chord you imply that it is a D11b9b13 chord.

You can also play scales from varying intervals around the target chord and still have it sound good. For example, what happens when you treat a Dmi7 chord as an Emin7 chord. Lets analyze it.
D E F G A B C
E F# G A B C# D

even though the 3 and 7 are altered you can still use this scale over dmin7 you just have to treat the F# and C# as passing tones.

Also with mi7 b5 chords, you can do the same thing you did with dominant chords earlier. In every key the 5 and 7 both function as a dominant chord and so it you take the chords from earlier C7 Eb7 F#7 A7 and use their relative min7b5 chords you have Emi7b5, Gmin7b5, Bbmi7b5, and C#mi7b5. This can be applied to soloing over Dmi7. If you treat Dmi7 [let's say like in So What] as the ii [dorian] Then you can sub the vii [B min7b5] for the three other relative chords and use Dmi7b5, Fmi7b5, and Abmi7b5.

Note: For super-imposing you can use arpeggios, or scales [especially pentatonic :) ]

There are lots of possibilities you just have to experiment.

Lesson 4: Scales

Modes of the Major Scale

Modes are scales derived starting from every note of a parent scale. In this case we are using the major scale. Example C major

C Ionian - C D E F G A B C [ Maj 7 ]

D Dorian - D E F G A B C D [ Min 7 ]

E Phrygian - E F G A B C D E [ Min 7 / 7 susb9 ]

F Lydian - F G A B C D E F [ Maj 7 #11 ]

G Mixolydian - G A B C D E F G [ 7 ]

A Aeolian - A B C D E F G A [ Min 7 b13 ]

B Locrian - B C D E F G A B [ Min 7 b5 ]

Note: The 4th note of a major scale is an avoid note and is often raised.

Modes Of The Melodic Minor

A Melodic Minor - A B C D E F# G# A [ Min/Maj 7 ]

B Dorian b2 - B C D E F# G# A B [ Min 7 / Sus b9 ]

C Lydian Augmented - C D E F# G# A B C [ Maj 7 #5 ]

D Lydian Dominant - D E F# G# A B C D [ 7 #11 ]

E Mixolydian b6 - E F# G# A B C D [ 7 b13 ]

F# Locrian Natural 2 - F# G# A B C D E F# [ Min 7 b5 ]

G# Altered Mode - G# A B C D E F# G# [ 7 b9 #9 #11 b13 ] <---- I know... wow.

Other Scales

C Half Whole Diminished - C Db Eb E F# G A Bb

C Whole Half Diminished - C D Eb F F# G# A B

C Whole Tone - C D E F# G# A#

Bop Scales

Bebop Dorian - D E F F# G A B C D

Bebop Mixolydian - G A B C D E F F# G

Bebop Major - C D E F G G# A B C

Bebop Melodic Minor - A B C D E F F# G# A

*** are added tones

From Chords to Scales

The easiest way to construct a scale you're not sure of is to take a chord written horizontally,

C7 C7 b9 b13

A Ab

F F

D Db

Bb Bb

G G

E E

C C

and write it in one octave.

The first scale is : C D E F G A Bb C [Mixolydian]

The second is : C Db E F G Ab Bb C [Mixolydian b2 b6]

Notes that are not specified in the chord itself are subjective however altered tones will cause tension.

What works?

Here are some tricks that work and can make improvisation easier.

• You can play a dorian over an entire ii-V-I
• Locrian Natural 2 over minor ii-V's
• Lydian over major chords
• Half Whole diminished or Mixolydian over dominant chords

You can also use three different pentatonic scales over a ii-V-I. The one, four and five. In Cmaj it would be:

C D E G A [1]

F G A C D [4]

G A B D E [5]

Over Dmin7 - G7 - CMaj7

Another cool scale is the IN SEN Pentatonic.

In C it would be E F A B D, it has an asian flavour to it and would work well over a dom7 or dom7b9 chord.

The Chromatic scale is also a possibility, but over using it sounds watered dow and tasteless.

Note: Because the Melodic Minor scale has no avoid notes any pattern can be played on any chord derived from that scale.

How To Practice Scales

• Learn scales in all 12 keys.
• Practise sequences in every key
• Practise scales in different intervals like :1-3-2-4-3-5-4-6-5-7-6-1-7-2-1

You can use the continuous scale exercise to practise soloing with scales. You simply play quarters or eighths and start on any note from the first chord and play the scale, when the chord changes you change your scale to the scale of the new chord. Practise ascending and descending.

Ex

Ami7 - D7b9 - Gmi7 - C7

C D E F# - G A B C - D E F G -A Bb C D

Lesson 3: Using Chords To Solo

Chord Tones

One of the most common and easiest ways to improvise is by using chord tones. You can arppegiate chords and other chords found in their extensions to have lots of notes at your disposal.

Example 1: An F Dominant Chord

F7 --> [extensions] F13 --> F A C Eb G Bb D

From those notes you can spell put four seventh chords:

F7 Ami7b5 Cmi7 Ebmaj7

And Five Triads:

Fmaj Adim Cmin Ebmaj Gmin

These chords can be played over An F7 chord and will sound great. You can use different patterns too. Another concept that is important is Sequences. Seqences are melodic or harmonic patterns that immediately repeat at a different pitch. And are commonly used by most if not all jazz musicians. They are great tools to use while improvising.

Example:

F G A C G - B C D F C - A B C E B

This can also be applied to the above mentioned chords.

F A C Eb -A C Eb G - C Eb G Bb - Eb G Bb D

or like this

A F - C A - Eb C - G Eb - Bb G - D Bb Ect,

Side-Steppin' [A Half step Approach]

You can spice up an arppegiated phrase by approaching each chord tone by a semi-tone, this device was employed by many jazz musicians adds a bop-ish flavour to your line.

Example:

E F - G# A - B C - D Eb

You could also put another note before the first note of each grouping to make a chromatic sequence.

Eb E F - G G# A - Bb B C - Db D Eb

There are some notes that sound better than others on a given chord. For example, The "fourth" over a major chord is generally considered to be an "avoid" note and is usually replaced by a #4. Where as a "fourth" over a major chord is very pretty. Ultimately you have to experiment and use your ears.

Common Tones

A good way to make soloing easier is to look for common tones between chords. For example,

Fmi7 Bb7 Ebmaj7

The chord tones Ab and F are found in both the Fmi7 and Bb7 chords, and Bb and D are both found in Bb7 and Eb maj7.

Also, you can use extensions for more options.

Lesson 2: Chords In Jazz

Intervals

Intervals are simply put, the distance between notes. Jazz makes use of all intervals and a knowledge of them will help your phrasing.

1 - 1 Unison - The note doesn't change.
1 - b2/b9 Minor Second - An interval of one semi-tone.
1 - 2 Major Second - An interval of a whole tone.
1 - b3/#9 Minor Third - An interval of a whole and semi-tone.
1 - 3 Major Third - An interval of two whole tones.
1 - 4 Perfect Fourth - An interval of two whole tones and one semi-tone.
1 - #4(11)/b5 Augmented Fourth/Diminished Fifth/Tritone - An interval of three whole tones.
1 - 5 Perfect Fifth - Three whole tones and a semi-tone.
1 -b6/b13 Minor Sixth - Four whole tones.
1 - 6 Major Sixth - Four whole tones and one semi-tone.
1 -b7 Minor Seventh - Five Whole tones.
1 - 7 Major Seventh - Five Whole tones and one semitone.
1 - 8 Octave - Same note an octave higher.

It is common for bebop players to start of a phrase with an interval of a fourth like in the head of "Ornithology" or "Scrapple From The Apple" by Charlie Parker. Beboppers also commonly end phrases with a major/minor sixth interval.

Chords

Major 7 - Maj7 or M7 or it can also be written as a triangle then a 7. Includes 1 3 5 7. Extensions are generally 9, #11, and 13. Commonly Major seven chords will be played as Maj6 or Maj6/9 chords,meaning instead of the seventh note of the scale they have the sixth and in the latter the ninth.
Minor 7 - Min7 or m7 or -7. Includes 1 b3 5 b7. Extensions include 9 11 and a natural 13.
Dominant 7 - Written simply as 7. (Ie C7) Includes 1 3 5 b7. Extensions include b9, 9, #9, 11, #11, b13, 13.
Half Diminished 7 - Min7 b5 or it can be written as a small circle with a line through it. Includes 1 b3 b5 b7. Extensions aren't generally used but would probably be limited to b9 and b13.
Diminished 7 - Dim7 or written as a little circle. Includes 1 b3 b5 bb7. Extensions aren't generally used but could include anything [depending on if the soloist/melody used the whole/half or half/whole diminished.]
Augmented 7/Dominant 7 #5 - Aug7 or +7 or 7 #5. Includes 1 3 #5 b7. Extensions are same as dominant.
Major 7 Augmented - Maj7 #5, Maj7 +5, M7 #5, M7 +5. Includes 1 3 #5 7. Extensions are generally not used, but could be similiar to dominant because of the altered 5.
Minor/Major 7 - Min/Maj 7, m/M7, or a - followed by a triangle 7. Extensions aren't generally used.
Suspended 4 - 7 sus. Includes 1 4 5 b7 3. Extension is usually b9.


Harmonizing The Major Scale:

When you derive chords from the major scale these are the chords you get:

I maj7 - ii min7 - iii mi7 - IV maj7 - V7 - vi mi7 - vii min7b5

If you add extensions you can make:

I maj6/9 - ii min 11 - iii 7 susb9 - IVmaj7#11 - V7 sus - vi min7b13 - vii min7b5

ii-V's and Movement in Fourths

The most common harmonic motion in jazz is movement of a fourth. The most typical way to do this is a ii-V-I. This happens in Autumn Leaves:

[Am7-D7-GM7-CM7-F#m7b5-B7b9-Em7-Em7]

It contains a Two-Five-One in Gmajor then it goes to the four, then there is a two-five-one in E minor. A minor two five is a ii-V that leads to a minor tonic. The minor chord is usually a half diminished and the dominant chord is usually a dominant flat 9.

Lesson1: Starting Out

Alright! Hi everyone. This is the first installment of Josh Jones' Jazz theory lessons online. As you all know the actual lessons will begin the second week of school but I figured I might as well show you some stuff a head of time. This Lesson will be a list of things you should know for jazz band this year from the start. Please note most examples are in concert.

Scales for Improvising over "So What"

Our warm-up this year is going to be a miles davis tune called "So What" from his album "Kind of Blue". It is a modal tune which means the song is based mainly around two modes. The D and Eb Dorian modes. The form of the song is like this:

Dm7 [Dorian] x 16 bars
Ebm7 [Dorian] x 8
Dm7 [Dorian] x 8

[which is why you have to know both the D and Eb Dorian]

The dorian mode is the scale that starts from the second note of the major scale.

The modes used in so what are Concert D Dorian

D E F G A B C D [trombones and rhythm section]
E F# G A B C# D E [for trumpets and tenor]
B C# D E F# G# A B [for alto and bari]

and Eb Dorian

Eb F G Ab Bb C Db Eb [trombones and rhythm section]
F G A Bb C D Eb F [for trumpets and tenor]
C D Eb F G A Bb C [for alto and bari]

This scale is the most practical scale to use over the two "chords" in so what as both chords contain every note in their relating dorian mode.

In the A section the chords are E A D G B and D G C F A, and when re-arranged spell out
D E F G A B C D! The dorian mode. : ) Cool huh? As you probably noticed the two chords are not normal minor chords. They are in a quartal voicing. Which means the chord contains intervals of fourths instead of thirds like in normal [tertiary] harmony.

Visit: http://ca.youtube.com/watch?v=U4FAKRpUCYY&feature=related
http://ca.youtube.com/watch?v=PIVh2o9yKcs&feature=related

both of these recordings are way cool... check them out!

Pentatonic Scales

Another scale you should get hip to is the pentatonic scale. It has five notes. Boring! Right? Wrong. Everyone from Coltrane to miles to Parker to Herbie Hancock used them they are practical and sound great. Every major pentatonic has a relative minor.

F maj pentatonic is the same as D min pentatonic [which you can use over so what!!!!]

F G A C D and D F G A C

In fact, when you put the notes from the "So What Chord" in the same octave you get two pentatonic scales!

E min - E G A B D
D min - D F G A C

or in the B section:

F min - F Ab Bb C Eb
Eb min - Eb Gb Ab Bb Db

[Definitely practice improvising with those scales to play over so what]

You can also combine the two above mentioned scales to get... The Dorian Pentatonic Scale! It is a cool sounding scale and sounds great over so what.

D F G A B

Blues Scale

Is a minor pentatonic scale with a #4 or b5 added. It looks like this:

D F G G#(or Ab) A C

It is commonly used over a blues but in the right context will work over so what.

The Dorian Bebop Scale

This scale was used by bebop players like Charlie Parker and Dizzy Gilespie in the forties. It is an eight note scale and was invented so the player could play it and not have the one land on an off beat. It looks like this:

D E F F# G A B C D
or
Eb F Gb G Ab Bb C Db Eb

[practice this one over so what too!]

I will review all of these things at the actual tutorial but I figured giving you some stuff over the summer wouldn't hurt.