Dorian Flat 2 Mode “Improvisation” Techniques:Music Theory

Posted on April 12, 2021November 16, 2021 by Modern Music Theory and Application

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Dorian b2 Mode of the Melodic Minor Scale Lesson and Improvisational Compositional Musical Devices

Dorian b2 Mode

Two octaves; Tab and Notation

To Begin with let’s look at the arpeggios of the Dorian b2 mode. Notice the Two Major arpeggios.

They are E flat Major and F Major

We can immediately make Triad Pairs from them

Variation:

We can Sharpen the 5th and create a more exotic and colourful sound

We can add Gm7b5 and Am7b5 to the Major or F aug arpeggio

We can employ the B flat minor 9 major 7th arpeggio

Here we can add it to the F major arpeggio

It is an even better idea to start the B flat minor 9 major 7th arpeggio on the tonic note of C

Here we will extend the Am7b5 part of the line

We can also make scales from the mode. Below is an example of creating a scale and then adding harmonic content with wider intervals like triads.

Making our own pentatonic scales from the mode works really well also.

Dorian, b2 ,Mode, Melodic, Minor, Pentatonic, Lesson, improvisational, Compositional ,Musical, Devices, — Pentatonic from Dorian b2 Mode Lesson Jazz Fusion Improvising Guitar Lines

Here is a short sus4 and aug Lick

Another short lick

These are the basic chords of the Dorian b2 mode

Of course we can change the chords to make them more exotic and colourful

We also have the typical jazz fusion chords contained within the Dorian flat 2 mode of the melodic minor scale

Below we create a very exotic colourful “‘al la” John Mclaughlin sound!

Dorian b2 Backing Track:

Dorian b2 mode Backing Track:

Dorian b2 Chord Chart:

Dorian-b2-Mode-Chord-Chart dorian flat 2 mode chart Download

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Chromatic Displacement?

Posted on May 7, 2020May 7, 2020 by Modern Music Theory and Application

https://youtu.be/szQddk3tWSI

As an antidote to enclosure here we look at some easy developing chromatic ideas for improvisation.

These ideas follow a basic 4 note D chromatic scale to an F arpeggio. They then move into a variation.

Idea 1

chromatic displacement for jazz improvisation

Idea 2

chromatic displacement for jazz improvisation

Idea 3

chromatic displacement for jazz improvisation

Idea 4

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Dave Liebman: A chromatic approach to jazz harmony and melody.

Posted on April 28, 2020March 6, 2021 by Modern Music Theory and Application

[These are my own concepts taken from Dave Liebmans Brilliant Book A chromatic approach to jazz]

This first idea is a simple way of weaving in and out of unrelated harmony.

Here the C natural slides into the C# and then into an F# arpeggio which then revolves by letting the C# fall back into the C natural of the F major arpeggio with a flat 5 resolving to the fourth.

Dave Liebman A Chromatic approach to jazz harmony

The next example is an extended line with a substitution of a substitution creating chromatic interest.

Dave Liebman concept of chromatic jazz harmony

VARIATION:

LONGPNE

Below we see a concept of weaving through two different key centres. Thinking F for D minor and then through F# and sidestepping back to resolve the line.

Dave Liebman chromatic approach to jazz idea

VARTIATION

A chromatic Dave Liebman concept

VARIATION

A chromatic approach to jazz harmony and melody Dave Liebman concept

Flat 5 substitution. D minor and A flat major.

flat 5 substitution b5 sub Dave Liebman Chromatic approach to jazz line

VARIATION:

Dave Liebmans book is an excellent and inspiring means of absorbing chromatic improvisational knowledge and ideas for your own playing.

511-P62qKeL copy

I am not promoting this book. But I am very grateful for its existence and for its powerful inspiration to me on a daily basis. Anyway, below is a brief overview.

This book should be seen as a method to help the artist to develop his or her own way when trying to improvise chromatically. Through the concepts and examples offered, the improvisor should be able to use this material alongside already familiar tonal ideas. Specifically, the book serves as a guide for organizing chromaticism into a coherent musical statement meant to satisfy both the intellectual and emotional needs of artistic creation.
The reader will be introduced to more than one way of conceiving chromatic lines and harmonies. There is nothing theoretically complex or new in the text, it is the organization of the material as well as many musical examples and transcriptions (Bach, Scriabin, Coltrane, Shorter, Hancock, Beirach, Liebman a.o.) which should serve to inspire musicians to expand their usual diatonic vocabulary.
This book also provides insight into the style of playing that David Liebman is known for. In addition the book contains 100 assorted solo lines and 100 chord voicings.