A JAZZ RESPONSE to the Modes of the MAJOR SCALE: DORIAN MODE: Part 1

yt_logo_rgb_light CLICK SUBSCRIBE!

Clifford Martin My response to the Modes of the major Scale: The Dorian Mode: How it Sounds

Today it’s just a short video as a response to the Modes of the Major Scale.

Many on the internet teach the modes as just learning the C major scale and starting on a different degree of that scale.

They NEVER show/play the Chords,Slash Chords, Harmony, Pentatonic’s, Arepggio’s, Superimpositions, Transpositions to Parent key, Sequences of Tonal Flavour, etc.

This is really bad and wrong teaching, and, for a beginning improviser or composer this is harmonically devastating when put into a “Real” situation with Pro Improvisers or Composition Expectations.

Without transposing the modes you have nothing with which to compose or improvise with. It’s no good just playing a C major scale over C major. That’s not what it is.

The video above has a brief look at what an improviser or composer should do or will do instinctively.

Below is a FREE Download. Click on Book Cover:

modes, music ,free ,book, How, to, Transpose, them, and improvise, jazz, fusion,
Guitar Modes FREE eBook! Modes of the Major Scale FREE Book! Learn how to transpose them properly!

For more information try George Russel’s “Lydian Chromatic Concept: [Best to borrow from a library as it is an expensive book]

LCC, George, Russell,Lydian, Chromatic, Concept, Book, Cover,
George Russell: “Lydian Chromatic Concept of Tonal Organization” http://www.jazzimproviser.com

IF YOU FOUND THIS USEFUL THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

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

[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:

B5

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.

Thanks for viewing this post, I hope it was interesting and useful. Please subscribe to us on youtube!

yt_logo_rgb_light CLICK SUBSCRIBE!

John Mclaughlin Jazz Fusion Line Breakdown

There are two parts to this. The second lesson is a variation. The dominant chord in this 2 5 1 is altered.

This creates a nice way to create flow with the fingering when alternate picking in the style of John Mclaughlin. As you play through the Notation/Tab [below] this will become apparent very quickly.

 

John Mclaughlin guitar lesson finishing with a D flat Triad for G7 alt

 

John Mclaughlin Jazz Improvisation guitar lesson jazzimproviser

LINE BREAKDOWN: Breaking down the line into 4 note cells [Tetrachords]

TETRACHORD 1

jazzimproviser

TETRACHORD 2

this is the way I do it

TETRACHORD 3

this is the way I do it

TETRACHORD 4

This is the way I do it

TETRACHORD 5

Mclaughlin this is the way I do it

TETRACHORD 6

This is the way I do it

TETRACHORD 7

This is the way I do it John Mclaughlin

TETRACHORD 8

This is the way I do it

VARIATION of the John Mclaughlin jazz fusion improvisation guitar lesson finishing with an E flat Triad for the G7 alt

John Mclaughlin Jazz Improvisation guitar lesson. Altered scales

For more info John Mclaughlin has a DVD:

John Mclaughlin This is the way I do it