A serious theory thread

I got a question for you jazz guys; improvisation. What was your turning point that you began realized that you understood Jazz improvisation. On another serious note, what training techniques would you suggest to improve (books, Scale modes, ect.).

the improv master

Heart and Soul.

Actually, I'm not much of a Jazz purist. Let's say it was Outta Space that took me away.

Dear Eric,

i hear Walmart has good theory books. You should pick one up. Have a nice day.

My Walmart stopped selling such things. So I dig around in the basement and usually find something.

When was the last time you checked into something like Outta Space?

ii V7 I

ok ... :poke:

work on this, ascending and descending.

and when you are good, check back, and I will tell you the trick on playing this in different keys

work on this, ascending and descending. and when you are good, check back, and I will tell you the trick on playing this in different keys

Why so cryptic? Why can

good one, Yooz. Did you narrow down your Yamaha upright shopping ?

Yeah, I did See http://acapella.harmony-central.com/showpost.php?p=27234963&postcount=185

Yeah, I did See http://acapella.harmony-central.com/showpost.php?p=27234963&postcount=185

very cool

I was a U3 owner. I warned you about ' grey market U's " at the

other forum

The US has a bunch of Japan market U3's which jump out of tune due to the type of wood used for " Japan market U1/U3's "

Oh, yeah. NOW I get it!

KAC

Here's a serious answer.

Most jazz teaching centers around bebop techniques (improvising over chord changes) and then heads into modal improvisation (improvising over modes).

So first thing is you need to understand how to play chords, not only as block chords but as arpeggios as well in all inversions. After that you need to learn which scales apply to each chord and then how to apply modes rather than scales. But start with chords. Many people start with scales (I did) and take years to realize the scales only make sense related to the chords.

It's easiest to start working with blues progressions, them move onto rhythm changes (chord progression based on the song "I Got Rhythm", google it). In the bebop world, these two progressions account for at least half the common repertoire.

Pick a blues tune with a simple melody ("C Jam Blues", "Sonnymoon For Two", etc.) and try the following while listening carefully for what sounds good and what sounds like crap:

1. Learn (memorize!) the melody

2. On paper figure out how each note in the melody relates to the chords...either it is a chord tone or it is a passing tone.

3. Improvise on the melody by changing the rhythmic phrasing, leaving certain notes out, etc.

4. Improvise on the tune using only chord tones over each chord (hint: emphasize the thirds and sevenths over the roots and fifths).

5. Improvise alternating between the melody for one bar and chord tones for one bar. Then try the same with two bars each, four bars each, etc.

6. Start adding approach notes to your improvisations: play the note a whole step above a chord tone, the note a half step below the chord tone followed by the chord tone. Then the reverse (half step above, whole step below).

Good luck.

Oh, yeah. NOW I get it! KAC

That guy Is REALLY good with scales

I don't think he's well known

About 10 years ago, I started to play jazz guitar. It's hard, but leads are easier than playing fast chord changes. I've been working on jazz lead on my synth lately.

There are a few tricks when starting: Find a jazzy, but simple chord progression to work with. Something like this: Gm7, Em7, Dm7, Bm7, Bbm7.

(I know it's basically working a bar chord, but it will allow you to play leads.)

Just program the some variation of that chord progression into Cubase, Cakewalk, Logic, etc., loop it, and start improvising. Then build from there - 6ths, 9ths, resolving 7ths, intro 4ths, etc.

Another trick on a synth is to play lead with both the root and major 3rd (4 steps) or root and 9th (14 steps.) This gives it a Chick Corea sound. Of course he fingers it properly, but you can do it by sending the midi signal back into your synth raised 4 or 14 steps.

Arpeggiate all chords in all inversions

Learn ii-V-I in all keys and all inversions

Transcribe and memorize solos (start with slower single note solos first as they are easier to transcribe)

Take parts of the solos you like and put them in different keys and use them in different tunes where similar changes appear

Find some other players to play with who are better than you

Go to jam sessions

Good book to check out

Mark Levine: Jazz Piano

I hope this helps...

I like your first idea. My left hand is weak compared to my right.

as a warm up, I practice 3 octave arps in all keys using my left hand

My XS Motif (ARP Piano concerto) kicks my ass on this, but I would NEVER use

XS ARP's as a crutch. No way, not me, never.

Definitely check out Hanon (serious answer).

Sorry, this thread is serious and I'm super-serious. In fact,

Anyway, on a SERIOUS NOTE, I was kind of thrown into jazz improvisation for this show I'm working on. I'm classically trained, so the dom/MAJ 7, etc. always seems wrong to me. I'll noodle around on "wrong sounding" things over a rhythm. Sometimes it'll be WRONG WRONG and sometimes it will be RIGHT WRONG. When it's RIGHT WRONG, i'll figure on the interval and jam around that.

For Jazz the 6th, the 9th (with the dom or maj 7), the 13th, always are right.

The add2 and the sus4, however, rarely work. They're too contemporary sounding.

I knew you young punk kids where going to start spraying your graffiti in here sooner or later. What you kids need is an education!