Jazz Line number 2 Part 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. You can only go to the next
exercise once the current one has been mastered in all twelve keys.
I suggest watching part one of this video first where we introduce the line and concepts
on how to think intervalicaly.
Ah, one more thing…. Don try playing licks when you are improvising.
Let you ears guide you. Be in the moment. The concepts you practice should and will
surface naturally once they’ve become part of your vocabulary.
Ok let’s get started So in this part we are going to use a harmonic
perspective considering chords and chord-scales
This line is based on the altered scale. So, lets look at the scale.
The altered scale is the 7th mode of the melodic minor
So the C altered scale share all the notes with the Db melodic minor
Since the line we are playing is contained in the C altered scale it is a good approach
to think of the melodic minor a half step above the root of our dominant chord
So here’s our first challenge Play the root of your dominant chord and then
a half step above. here’s in C in red and in F in blue
We will be using 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.
Try to play along with the piano player in our demo
So, how did you do?
Ok So we’ve seen how the C altered scale is
the Db melodic minor which is also C#
Now if we look at these last notes on the line from a Db melodic minor point of view
we get 1 2 b3 and 5
So here’s your next challenge. We play the 1 as reference then go a 1/2 step
above and think about the melodic minor over that note
So with the new root in mind we play 1 2 b3 5. Remember it is a half step above our chord
root So here it is in C
and here in F
Play this line in all twelve keys around the circle of fifths
Ok The previous note in our line is the b2 or
b9 again which is our root a half step above So here’s your last challenge
We are just adding the the root of the melodic minor and resolving back a half step down
to the 1 of our original root for reference So we are playing the root of our dominant
going up a half step and then playing a 1 , 2 , b3, 5, 1 on the new key
So in C we play C and then in Db minor 1, 2, b3, 5, 1. Then we go back to C
in F, it looks like this
And here’s the play along.
Great. So far we’ve played lines that are not even close to our original but we’ve
practice looking at our original line as a minor chord a half step above our root with
the 2 of that minor chord as a passing note.
The lick is just that chord played backwards. Notice that it also starts on the 2 of that
chord. So it is 2 1 5 b3 2 1 on the minor chord a half step above our original root
so Db minor in C7alt
That’s it! We’ve analyzed and looked at the lick from a harmonic & chord-scales perspective
using and defining many concepts that are essential in the jazz language such as
Altered Scale as the 7th mode in the Melodic Minor
Target notes: the b9 or b2 Playing a minor chord with a passing tone
1 2 b3 5 Thinking of a different root and chord when
improvising: The minor chord over the b9 for altered dominants
So we are ready to play the entire lick, in the process we’ve done lots of ear training
and clarified all those concepts So 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 If you do not understand how these modulations
were constructed please check part 1 where we explain the entire progression.
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
thanks for watching. and don’t forget to subscribe
Bye