Jazz Guitar 4 Beginners: Notes on Improvisation TCC~ GG Preparata

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Presentation transcript:

Jazz Guitar 4 Beginners: Notes on Improvisation TCC~ GG Preparata

Recap: Fooling around with chords In the tonality of F/Dm Progressions ~ ad libitum Bb Maj7 (interm./1st fret) – Bm7/ b5- C#7/b9 – Dm7 (interm. 2nd form- see figure) – G7/11 (see figure) – A7/11 – Dm7 One Note Samba (Jobim): [A]:Dm7-C#7-C7 sus 4- Bm7b5 (int. 2) – [B]:Fm11 (int.2)- Bb7+5 (or13) –Eb Maj 7-Ab6 Repat [A] and and end with Bb6 (or 13) Dm G7/11 Bm7 b5 Fm 11 9th fret

The Ubiquity of the Minor Mode Find your degrees Rule for the Major Diatonic Scale Count: “tone-tone- semitone (3)-tone-tone-tone- semitone (7)” T-T-St-T-T-T-sT 1-2-three-4-5-6-seven Back to our chords: BbMaj7-Bm7b5-Dm (7)- G9 (high shape): So you can play minor arpeggios on the fifth of a dominant chord ALSO: play Gm11 and Cm11: you may play a minor scale/arpeggio of the 5th degree of Cm7: i.e., Gm7 (aside from the root) Arpeggios over MAJOR chords Rule: 3 minors that preserve the sound of the major chord: Minor built on the third degree: Cmaj-Em7; play arpeggios: same Minor bulit on the sixth degree: Cmaj-Am Minor built on the 7th degree, which yields a C Lydian: Cmaj7-Bm7

The Ubiquity of the Minor Mode In fact, the DMS has 4 minor relative modes: Dorian (2nd) Phrygian (3rd) Aeolian (6th) Locrian (7th) E.g., Gmaj7: G (R) ~ B (3) ~ E(6) ~ F# (7) Pat Martino on Improvisation & the the Minor Mode at: https://www.youtube.com/watch?v=rGb3sexMlCE