Making Music Theory and Jazz Improvisation work for you
Music Theory Modern Jazz Improvisation and 20th Century Classic lessons, Guitar Jazz Fusion John Mclaughlin Al di Meoala improvisation techniques explanations in notation, tablature and video
Tadd Dameron Turnaround “Tritone Cycle” in all 12 keys Jazz improvisation backwards 5ths [Moving in the cycle of 4ths] practice chart and track.
Major 7ths: 140 BPM
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To begin with we will use our group of 5 notes starting with an up stroke [from our previous video] alternate picking and add 2 extra notes to make our group of 7.
Next rather, than count 7 we will break the group of 7 up into semiquavers [16ths] making a group of 4+3 and a rest.
We will now make logical musical phrasing with 16ths and add notation. Counting 1 e and a 2 e and [Rest]starting with an “Upstroke” alternate picking.
If we look at the chord bar below we will see that the chord changes are 1 chord per beat. Harmonically this is moving at a very fast rate.
Now, we will apply two groups of 7’s broken up into 16ths so that we can play rhythmically through this ambiguous set of chord changes.
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Just a quick blog today, But a great one with a great backing track for improvisers!
This starts as a common blues, but it adds interest by employing “Coltrane Changes” to the last 4 bars. A great compositional device that adds extra interest to a blues. It’s also a cool improvisational concept for the improviser whilst adding colour as a turnaround.
Coltrane Chord chart analysis: Notice the C7alt [Alt Dom] for the Fm7 as the Coltrane changes set-up!
Finally, here is the 12 Bar “Coltrane Blues” Chord Chart for jazz improvisation: 140 Bpm.
140 BPM
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Long ii V Coltrane Changes [110 Beats Per Minute]
CHART: [All 12 keys] Moving in Fourths
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In this post we will go one further than the last post. This time we will take a group of six [Sextuplets] and make a tetrachord and a half from it.
This will make 4+ 2 which will make us nail the changes with 4 notes on the first chord and 2 notes on the second chord with a short rest to reset our fretting hand to repeat the pattern again on the next two chords.
Alternate picking exercise warm up in Sextuplets/Triplets
Why do this?
Because the groups of six are quite easy to play on the guitar and there a heaps of variations on each pattern. They flow easily and can be alternate picked rhythmically to create musical phrasing.
The first pattern for playing through the changes in Sextuplets
The first pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e
The second part of the chord sequence in sextuplets
The second pattern is now changed into 16ths. From 1 2 3 4 5 6 into 1 e and a 2 e
Finally, the full one bar alternate picking chord sequence nailing the changes
VARIATION:
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PLEASE: Watch VIDEO Below to understand!
This simple “Rhythmic Unit” of a group of 5 notes can be broken up into sub divisions to give clarity when nailing the changes when alternate picking at a very fast tempo of 180 BPM Plus at the guitar when improvising.
Although we might view and hear this as alternate picking and plucking a group of 5 on the guitar like the example below,
The Group of 5 now becomes one “Tetrachord” and the 5th note becomes the first note of the next chord [Dbmaj9]. This way the changes are “Nailed” by the rhythmic subdivision.
So, as we can see the “Ta Ka Di Me Thom” or 1 2 3 4 5
Becomes, “1 e and a” ” 2″
For anybody having problems with their alternate picking at fast tempos whilst nailing the changes this will really help you because you will automatically land on the first note of the next chord.
There are many more rhythms that are employed like 6’s, 7’s and 2×4 groupings. But I will go into these in another blog. In the meantime her are a few examples from John Mclaughlin himself phrasing by employing 5’s.
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