Category: jazz improvisation for jazz improvisers

Breaking Down Jazz Improvisation “OUTSIDE” Playing

Posted on by Modern Music Theory

Breaking down Michael Brecker!

When looking at musical notation it can seem like random notes. But if we break down each group into 4 note groupings called “Tetrachords” or “CELLS” we can break down the music theory and play each group on our instrument.

We can then remember the “Sound and Shape” of each cell and then join them together. In turn we can then apply these cells to our own instrumental playing/improvisations.

FULL SOLO LINE/PHRASE

RE DO

1st Grouping of 4 notes [Tetrachord]=E flat Pentatonic shape/sound [F Mixolydian]

jazz improvisation michael brecker outside solo

2nd Tetrachord=A flat Minor triad and 4th interval [or #11  #9 and #5]

jazz improvisation michael brecker outside solo

3rd Tetrachord=Minor scale fragment with #11

jazz improvisation michael brecker outside solo

4th Tetrachord=Changing cell. [From flat 9 to C Jazz melodic minor]

jazz improvisation michael brecker outside solo

5th Tetrachord= C lYDIAN [mAJOR CELL]

jazz improvisation michael brecker outside solo

6th Tetrachord =C LYDIAN/D MAJOR Pentatonic shape

jazz improvisation michael brecker outside solo

7th Tetrachord=C minor arpeggio and finishes with a 4th interval landing on the F TONIC NOTE.

jazz improvisation michael brecker outside solo

8th Tetrachord= F SCALE FRAGMENT

jazz improvisation michael brecker outside solo

9th Tetrachord= F LYDIAN FLAT 7 CELL

jazz improvisation michael brecker outside solo

10th Tetrachord = F SHARP 9 =VERY OUTSIDE SOUNDING

jazz improvisation michael brecker outside solo

Lastly= Flat 6 for C minor

jazz improvisation michael brecker outside solo

CONCLUSION:

In terms of fingering and musical application on our instruments learning shapes and “Connections” and breaking phrases down into 4 note cells [Tetrachords] is really useful because complex lines can be understood and learnt quickly.

In turn this gives us lots of patterns for improvisation and theoretical knowledge to improvise with as opposed to just playing scales and arpeggios.

If you found this easy then try and break this little solo down into” Hexatonic” scale application. You might find it really interesting!

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Melodic Minor Scale GUITAR Lesson: ARPEGGIOS, SUPERIMPOSITION AND JAZZY LICKS

Posted on by Modern Music Theory

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Melodic Minor Scale GUITAR Lesson: ARPEGGIOS, SUPERIMPOSITION AND JAZZY LICKS

In this blog we will look at the Jazz Melodic Minor scale and its harmony and how to exploit it for jazz/fusion and melodic pop/rock usage. The melodic minor is an exotic and beautiful sounding scale that compliments its corresponding harmony.

Melodic-minor-Examples MELODIC MINOR EXAMPLES PDF FREE Download

If we take the basic C Major scale and play through it we can create a new scale by changing just one note. This is the 3rd note E.

C,major, Scale,
How to make to C Melodic Minor Scale: Guitar Lesson

If we flatten this E natural to an E flat note we have the C melodic “Jazz” Minor scale.

Melodic, minor, scale, how, to, use, it, guitar, lesson, music, theory, in, practice, jazz, minor, scale,
Melodic “Jazz” Minor Scale Lesson: SUPERIMPOSITION/ARPEGGIOS/CHORDAL

Here are the arpeggios for the C melodic “jazz” minor scale in 7ths

Arpeggios, C Melodic, Minor, jazz, Scale, jazz, improvisation, concepts
Melodic “Jazz” Minor Scale Lesson: SUPERIMPOSITION/ARPEGGIOS/CHORDAL
Arpeggios ,of the, C Melodic, "Jazz" Minor, Scale,
Melodic “Jazz” Minor Scale Lesson: SUPERIMPOSITION/ARPEGGIOS/CHORDAL

Upper Extensions: We can add a “triad” above the arpeggios and create an upper extension on each of the melodic minor’s arpeggios.

C melodic, minor, UPPER, EXTENSIONS, for jazz, improvisation,
Melodic “Jazz” Minor Scale Lesson: SUPERIMPOSITION Upper Structures
Melodic, "Jazz, Minor, Scale, Lesson, SUPERIMPOSITION, Upper Structures,
Melodic “Jazz” Minor Scale Lesson: SUPERIMPOSITION Upper Structures
Upper, Structures, Melodic, "Jazz, Minor, Scale, Lesson, SUPERIMPOSITION,
Melodic “Jazz” Minor Scale Lesson: SUPERIMPOSITION/ARPEGGIOS/CHORDAL

It is a good idea to extend the tonic C minor/maj7 Arpeggio to get a good fluid fingering for it as it is a really beautiful exotic sound and can also be used over an altered dominant chord.

C, melodic, minor ,arpeggio, example
Melodic “Jazz” Minor Scale Lesson: SUPERIMPOSITION/ARPEGGIOS/CHORDAL

Another important point is to get a good fingering by using easier fingerings like the example below. [The easier the fingering the better the intervals sound on the guitar].

Guitar, Fingering, for C ,melodic, jazz, minor, scale, example
Melodic “Jazz” Minor Scale Lesson: SUPERIMPOSITION/ARPEGGIOS/CHORDAL

It is also a good idea to employ “triad pairs” that exist within the melodic minor scale. Here we have E flat augmented,  F major, Cmin/maj7, and Dm7

Triad, pairs, for C ,melodic, Mino,r jazz ,improviser, lesson, example
Melodic “Jazz” Minor Scale Lesson: SUPERIMPOSITION/ARPEGGIOS/CHORDAL

We can also make Pentatonic’s from the melodic minor scale which fit easily in the guitarists fretting hand. Below is an example that could be played over an A minor 7 flat 5 chord [Chord 6 in C melodic “jazz’ minor scale].

How to, make, pentatonics, from, the, C melodic ,minor, Scale,
Melodic “Jazz” Minor Scale Lesson: SUPERIMPOSITION/ARPEGGIOS/CHORDAL

Lastly, we have the dominant chord of the C melodic minor scale being G major [Chord 5]. This would normally make G seventh but due to the E flat note in the scale we can now make an “Altered” Dominant chord [G9 Augmented]. We have the note of A for the ninth and the Eb  flat note for the sharpened 5th.

How to, create, altered ,dominant, improvised, lines, from C melodic, minor, scale,
Melodic “Jazz” Minor Scale Lesson: SUPERIMPOSITION/ARPEGGIOS/CHORDAL

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