Modern Music Theory Improvisation and Application
Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
Hi Guys,
I made an E Book from the collected webpages and blogs from this website that wasn’t needed in the end.
So,
Rather than delete it I have posted it here for anyone who might be interested or find it useful:
FREE DOWNLOAD:
If this was of use then please Subscribe to us on Youtube below, Thanks!
Hi Guys,
Today, a look at how to create colourful and interesting jazz/fusion chords:
Because, we are dealing with jazz/fusion we will manipulate a scale in modal form. This will be C Mixolydian:
Now, let’s add one note above each note of the mode and create 3rds. [Here we can hear the mode in double stops].
Now, we will add another note a 5th above the root and create triads.
We have now harmonised the Mixolydian mode.
As you will hear it doesn’t sound very jazzy or have a fusion-esque sound.
So what do we do?
Well, we will add another note and manipulate the chord “Voicing’s”. Let’s exploit 4ths, flattened 5ths and Major 3rds.
Ascending Chord Scale:
Descending chord scale:
THE DORIAN MODE:
Now, we will apply this to the C Dorian Mode which has another flat note, this being Eb.
C Dorian Chord Scale : Harmonisation idea:
CREATING MUSIC:
Now, let’s play these chords in a sequence and make a bit of music from them:
EXAMPLE: Notice-Motifs and melodic movement from the chord voicings:
Melodic minor quartal harmonisation
Finally, to really get that “Fusion” exoticism let’s now exploit the melodic minor scale:
Below, we have the A melodic minor scale: Notice it’s just like the A Major scale but with the 3rd flattened: [In this case C natural]
Again, we will try out some ideas to harmonise the scale with some interesting chord voicing’s:
Here is a really nice set of chords built from from the scale.
From here it’s a good idea to play re-harmonised chords from chord scales in sequences like:
ii V7 I
Vi ii V I
iii Vi ii V7 I
IN CONCLUSION:
This was just a basic look at how to create interesting chords from scales and modes and how to create interesting and unique voicing’s.
At the end of the day it really comes down to your own ears and imagination and sense of creativity. But, this is how easy it is to create chords from scales and then put them into sequences for composition and re-harmonisation.
FREE PDF DOWNLOAD:
IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!
Hi Guys,
Today, a quick look at applying minor-isation for improvisation over a backing track:
This is a very useful way to play over ambiguous harmony or Jazz fusion chord progressions, slash chords and sometimes illogical movement/chord shifts.
So, what do we do? and how does this work?
ANSWER=Employ the minor key for everything!
Let’s say we take this chord FMaj#11 – we will go to chord iii of F Major and use that for our improvisational point. In this case it’s A minor.
Let’s apply the same principle to DbMaj7#11
If we apply chord iii we have F minor:
This time we will apply it to B Maj7#11
Chord iii being D#minor [Although I have notated it enharmonically with Eb minor as some people find that easier to visualise on the guitar fingerboard]
BARS 9 TO 12
In bars 9 to 12 you will see slash chords. For these we will go to chord Vi. So for instance on Db/Eb we will use Bb minor.
Bars 9 to 11: Chord Vi:
And on C/D chord Vi will be A minor:
We could also use chord iii as we did in the first 8 bars:
Bars 9 to 11: Chord iii Employed:
LAST 4 BARS
For the last part we will employ chord iii of Db Major throughout: This of course being F minor:
Here is the chart for the full backing track and you will see how all of this works:
IN CONCLUSION:
This is just a basic example of how “minor-isation” can be exploited to create really fluid improvisation especially on the guitar in a modern smooth jazz fusion context:
FREE PDF DOWNLOAD:
IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!