Jazz Line number 2
As always, we will first analyze the line and then you will play a series of self evaluating
exercises viewing the lick from different perspectives.
This line works well over a b9 and/or #9 dominant chord, usually in a minor key and it is based
on the altered scale.
Ah, one more thing…. Practice at slow tempos until you can play
along with our demos with ease. Practice consistently and be patient. If at first the line seems
too hard to play, do not give up, remember our ears and minds have a way of working these
things out anyway.
Ok let’s get started This time, we are going to analyze and study
the line using two different perspectives. An intervalic approach and a harmonic or chord-scale
approach. You should practice the line using both techniques since they will help you acquire
different skills for improvisation.
Also note that this line works by reinterpreting the IIm7b5 and the V7b9 in the first bar as
a dominant altered chord which would be C7 altered in this example
The line starts on the b3 or #9.
so, here’s your first challenge. We will play the 1 for reference so C in C7
Then we need to target the b3 or #9 So we will use the b9 as a passing tone
To think intervalicaly you play the 1 and then go up a half step, then a whole step
and then you come back So in C it would be C Db Eb (or D#), and back
and this is how it looks in F
I created a dominant workout with the V7s from the minor mode in Mapping Tonal Harmony Pro
with 1 bar per chord which goes around the circle of fifths.
Practice challenge 1 until you can play along with the piano player in our demo.
So how did you do? Ok, let’s keep analyzing the line then.
Now the next part of the lick is a descending line major second or whole step, and then
two perfect fourths with a chromatic approach to the last note.
As you can see in order to use this technique to practice licks, you must really know your
intervals in all keys
So here’s Challenge 2. Play this line in all twelve keys. We left the chromatic approach
out so you can think intervalicaly. Start on 1 and leap to b3 or #9 then play
a descending line using a major 2nd and two perfect fourths.
Here’s how it looks in C. Notice that the interval from the first note of the descending
line to the last is a perfect octave. And here’s in F.
Remember we are starting on the one as reference. We will use a 1 bar dominant workout around
the circle of fifths, see if you can play along.
Ok. Let’s add the chromatic approach. In this
exercise you will practice thinking on a target note, which is the last one in this example.
Remember you get to play Eb by approaching it chromatically from above. So you must think
leap of P4 but actually play a chromatic approach from above to that note. And here’s in F.
Here’s the demo. Try playing along
Ok The last part is just another major second
and a minor second. It is as if the lick was going to repeat an octave lower but this time
resolves to the 1 by a half step.
So that’s the entire lick viewed from an intervallic perspective.
Before you try playing along let’s try a new progression.
We’ve been practicing over the circle of fifths, which is very useful since many progressions
follow it. But there’s another important sequence that is essential to understand in
jazz, which is moving by 3rd major and minor. Keys that are related by 3rd share many properties
which we can use in substitutions and reharmonization.
Let’s take a look at major 3rds movements So, if we move by thirds from C, we get C
to E to Ab (or G#) These 3 keys they belong to a symmetric structure
called the augmented triad in which any of these notes could be the root.
Because of its symmetry there are only 4 possible augmented triads we can build.
So we can move a half step above our last note which is Ab and we get the next group
when moving by thirds A Db and F
Another 1/2 step up and we get F# Bb and D and then Eb G and B
We have used all the keys in groups by major thirds
So we can now practice the lick starting on a G7 altered for example, and follow the pattern
and we get: G7 B7 Eb7 that’s the first group. We move
by a half step and get E7 Ab7 C7, then Db7 F7 A7, and finally Bb7 D7 F#7
Remember we are constructing the modulations going two major 3rds up and then link using
a half step up.
The tenor saxophone in our demo is in Bb so if you play a non-transposing instrument remember
you should start in F7, here’s the progression
That’s it! We’ve analyzed and looked at the lick from an intervalic perspective using
and defining many concepts that are essential in the jazz language such as:
Reinterpreting a II V just as a V Scale degree #9 which is the b3
Playing shapes by intervals Major 2nd, Perfect 4th
Approaching a target chromatically from bellow Circle of fifths
and using a modulation pattern by major 3rd with a link a half step up
So we are ready to play the entire lic. In the process we’ve done lots of ear training
and clarified all those concepts So lets try to play along. Remember we are
using a two bar workout IIm7b5 V7#9 resolving to a I major7 modulating by major thirds and
then linking by 1/2 step
Pay attention to the starting key. The track sounds a whole step bellow what’s written.
If you play a non-transposing instrument the track starts with the lick in F7
Let’s do it!
You should also check Part 2 of this video, where we look at this line from a harmonic
perspective using chords and chord-scales thanks for watching.
and don’t forget to subscribe Bye