The per­feCt jazz Solo!

CO­HE­SIVE STUDY:

Guitar Techniques - - PLAY: JAZZ -

[bars 2-9: sim­ple melodies] We be­gin our solo study with a col­lec­tion of sim­ple melodic ideas that fit each chord per­fectly by con­nect­ing those cru­cial 3rd and 7th in­ter­vals in a log­i­cal and co­he­sive way. When ap­proach­ing writ­ing a mel6odxyx, xyx­ox­ux­cx­ox­uxlxd do a lot worse than just writ­ing down all the notes in each

6 xxxxxxxxxx chord and look at the re­sults for a sec­ond to see if you spot any con­nec­tions.

6 xxxxxxxxxx like e6vexrxyx­thx­ixnxgxxyx­oxu prac­tise, fa­mil­iar­ity with the com­mon moves comes with time sC6ooxb­mx­ex­px­axletx­itx­e­exnx­tSx­woil­toh:your stud­ies and you shall reap re­wards. [bars 10-13: Dou­ble-Time] From a scale per­spec­tive, we’re look­ing at Bb Io­nian

1herBe,bEb (Eb-F-Gb-Ab-Bb-bC-jDbbÏ) (Bb-CC-Do-mEbp-Fle-G AS)fol­rob:SowthinBgb­ma­j7As maj7 Do­rian E m7 A1 B maj7 Em7 A1 B maj7 E 7 A1 B ma­j7J E 7 A1 B maj7 E 7 1: Sim­ple Melodies 1: Sim­ple Melodies 1: Sim­ple Melodies 1: Sim­ple Melodies6 8 1: Sim­ple78 Melodies6 8 78 6 8 78 6 8 78 6 8 78 Swing Swing∑ Swing∑ Cm Cm Cm Cm Cm with chro­matic bridges for Ebm7 and Ab7 and the com­bi­na­tion of G Phry­gian and Phry­gian Dom­i­nant for G7#9 (G-Ab-Bb-B-D-Db-Eb-F). While you could, of course, choose to pick all these notes, pay at­ten­tion to all the ham­mer-ons and pull-offs as these are strate­gi­cally placed to max­imise both speed and bounce. [bars 14-17: Quotes] Within these four bars we see three vari­a­tions of the same five-note phrase, although each time both the melodic and rhyth­mic con­tent is var­ied ever so slightly to sus­tain in­ter­est with what is es­sen­tially the same idea over and over. This abil­ity to re­use and dis­guise your phrases is one of the key Ab creBabt­ing im­pro­vised#

9sobloÏ as­p7ects to maj7 long and co­he­sive G7 s. A 7 B maj7 G7 9 A7 B maj7 G7 9 A7 B maj7 G7 9 A7 B maj7 G7 9

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