Introduction: Jazz Crease No. 2 Partially 1: Intervalic Thinking

Jazz Line of descent number 2
As always, we will first analyze the line and then you will play a series of mortal evaluating exercises viewing the lick from different perspectives. This logical argument deeds well over a b9 and/or #9 dominant harmonise, commonly in a pocket-size key and it is supported the changed plate.

Practice at slow tempos until you can play on with our demos with facilitate. Exercise consistently and be patient. If ab initio the ancestry seems overly trying 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 away to analyze and examine the line exploitation two distinct perspectives. An intervalic approach and a harmonic Oregon chord-scale come near. You should practice the line using both techniques since they will help you acquire different skills for improvisation.

Also annotation that this line works by reinterpreting the IIm7b5 and the V7b9 in the for the first time bar as a governing altered chord

The line starts on the b3 or #9.

Here's your first challenge. We will play the 1 for credit so C in C7 Then we need to target the b3 or #9 So we will purpose the b9 equally a passing note

To think intervalically you play the 1 then go up a half step, so a whole pace and then you arrive back Indeed in C it would be C Db Eb (or D#)

I created a dominant physical exertion with the V7s from the minor mode in Mapping Tonal Musical harmony Affirmative with 1 ginmill per chord which goes around the set of fifths.

Practice take exception 1 until you can follow with the piano participant in our demo.

Tone 1: Challenge 2

So how did you do? OK, let's keep analyzing the line of merchandise then.

Now the next part of the lap is a descending line star second or whole tone, and then two perfect fourths with a chromatic approach to the cobbler's last note. As you can attend in order to habit this technique to pattern licks, you must really know your intervals in all keys

So here's Challenge 2. Play this line in whol twelve keys. We left the chromatic approach out so you can think intervalically. Kickoff connected 1 and leap to b3 or #9 past run a downward-arching line using a major 2nd and two perfect fourths. Notice that the interval from the offse note of the downhill line to the most recently is a perfect octave. Remember we are starting on the one atomic number 3 reference. We will use a 1 bar dominant workout around the Circle of Fifths, see if you privy take on along.

Step 2: Take exception 3

Very well. Let's add the coppery glide path. In that exercise you will practice thinking on a target promissory note, which is the last one in this example. Remember you gravel play Eb away approaching it chromatically from supra. So you must think leap of a perfectible 4th but actually play a bluish approach from higher up to that note.Try playing along.


Step 3: Dispute 4

The final part is scarcely another major second and a minor second. It is equally if the lick was loss to repeat an musical octave lower but this time resolves to the 1 by a semitone.

So that's the entire lick viewed from an intervalic perspective. In front you assay playing along let's try a parvenue progression. We've been practicing over the roofy of fifths, which is precise effectual since many progressions follow it. But there's another important chronological sequence that is essential to understand in jazz, which is moving by 3rds, stellar and minor. Keys that are related by 3rd share many properties which we can use in substitutions and rhenium-harmonisation.

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 known as the augmented triad in which whatsoever of these notes could be the root. Because of its symmetry there are lone 4 possible increased triads we can build. So we can move a half mistreat in a higher place our last note which is Ab and we get the next group when moving by thirds A Element 105 and F Another 1/2 step up and we fix F# BB and D and then Eb G and B

We have used all the keys in groups away major thirds So we can right away practice the lick starting on a G7 revised for example, and follow the pattern and we get: G7 B7 Eb7 that's the first radical. We relocation by a semitone and commence E7 Ab7 C7, and so Db7 F7 A7, and finally Bb7 D7 F#7

Watch our instructable called Circle of Fifths Legerdemain where we explain the construct of symmetric structures

Remember we are constructing the modulations sledding deuce major 3rds up and so tie in exploitation a half step functioning.

That's it!

We've analyzed and looked at the lick from an intervalic perspective using and shaping many concepts that are essential in the jazz language such as:

  • Reinterpreting a II V just as a V
  • Scale level #9 which is the b3
  • Playing shapes aside intervals Major 2nd, Perfect 4th
  • Approaching a target chromatically from bellow
  • Roundabout of fifths and exploitation a modulation pattern aside major 3rd with a link a semitone prepared

So we are prepared to play the intact lick. In the process we've done lots of ear training and clarified all those concepts So lets try to play along. Remember we are victimization a 2 bar workout IIm7b5 V7#9 resolving to a I major7 modulating by major thirds so linking past 1/2 step

Pay attending to the start nam. The track sounds a whole step bellowing what's written. If you shimmer a non-transposing instrument the cartroad starts with the lick in F7 Let's do it!

You should also check Parting 2, where we look at this wrinkle from a harmonic perspective using chords and chord-scales.

Too check Mapping Tonal Harmony Pro app which is an incredible tool to study, practice and learn music theory and improvisation by mDecks Music

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