In this lesson we look at a short melody derived from the classical augmented scale ( 1, b3, 3, 5, b6, 7, 1 ) and play it in triplets grouped in 7. The melody could work in several harmonic contexts but we’ll just look at it in the context of concert A major 7 (#9 b13). Many improvisers use this scale in it’s various modes to improvise over major, minor and dominant chords.
The melody is played in a symmetrical sequence ascending by minor 6ths yet all the notes are contained in one scale. This scale, like the diminished scale or the whole tone scale is symmetrical and so 1 scale applies to 3 keys each a major 3rd apart (tri-tonic). Therefore there are a total of 4 scales each one representing 3 keys. You can think of the scale as compared to the major scale ( 1, b3, 3, 5, b6, 7, 1 ) or as two augmented triads one half step apart i.e. A+ and G#+ creating the scale covering the keys of A, C# and F. This is the same scale used in Lesson 7 where the major 7 #5 chords found in the scale are used within a dominant 7 context. Also, Lesson 56, on Giant Steps uses this scale in the first 8 bars over the tri-tonic progression.
In the video we’ll fist practice the rhythm of the triplets grouped in 7 over 2 bars of 4/4 time with the metronome – just singing. Than we’ll play the melody slowly rubato over a drone, next with the drone and the metronome and lastly with a bass and drums play along track at 120 bpm. If you’re interested in the drum and bass backing track, it is available here at CD Baby for 99 cents.
After you’re comfortable with the melody try improvising from the scale and perhaps find the different triads and 7th chords found in the scale. You could also play the melody starting on the 1st, 2nd or 3rd triplet of beat 1, 2, 3, or 4 in order to help hear the phrase in a different location in the harmonic rhythm.
This ii-7, V7, I melody that uses minor triads with an added 9th (or 2nd) i.e. 1,3,5,9 or 1,9,3,5 etc…
The first part of the melody uses a minor triad with the added 9 over the ii chord (D-7 would use a d minor triad with the 9th “E” added). The second part of the melody uses the minor triad with an added 9th one half step above the root (G7 would use an Ab minor triad with the 9th “Bb” added) or a tritone away from the first triad. This triad with added 9 over the dominant produces an “altered” sound giving you b9, #9, 3 and #5 on the dominant and comes from the 7 mode of melodic minor or altered scale). The line resolves to the 5th of the I chord… Try singing the line slowly at the piano to learn to hear it well before playing it on your primary instrument.
My friend Miles mentioned to me that Stefon Harris refers these triads with any single added note as “quadrads”. A quadrad can basically be thought of as a 4 note scale.
Once you’ve worked on this simple melody through the keys try improvising using the 4 note “quadrads” over the same ii – V – I progression. Last, try to use the quadrads over a standard or original you enjoy improvising on. This should help the new sound eventually become part of what you hear.
In this lesson we’ll look at the first ii – V7 – I melody found in the “Modern Jazz Vocabulary vol. 2” book. This melody is comprised of major 1st inversion triads descending by half steps and a few chromatic passing tones at the end. The melody is also grouped in 6 against the harmonic rhythm in 4/4. The descending triads end up outlining some nice tensions over the the ii – V7 – I progression. Although this is a melodic sequence it is still loosely based and George Garzone’s Triadic Approach which I recommend checking out. In the video I play this short melodic phrase through the 12 keys at both a med and med up tempo. Remember to work on this and all the material from the blog from memory as much as possible. I believe it’s better to learn the idea from memory in one key than to read it in 12 keys.
Modern Jazz Vocabulary Vol. 2 Is an in depth study of classic II-V-I progression found commonly in jazz improvisation. The nearly 300 melodic examples incorporate rhythmic groupings, triad pairs, enclosures, chromatics, synthetic scales, chord substitutions and more.
“…I can definitely use this book for myself and my students.”
In lesson 63 we look at a simple melody that uses both the natural 9 (the #11) and the b9 on a dominant 7th chord. Within the first bar of this melody a major triad a whole step above the root is present. Somtimes this is refered to as an upper structure triad since it outlines some of the notes above the root, 3rd, 5th and 7th of the chord (in this case the 13th, the 9th, and the #11th).
The resolution melody in bar 2 does not contain a 3rd or a 7th so you could conceivably play this idea over a major, minor or dominant 7th chord. It can be interesting to improvise over a chord using just the root, 5th, 9th and 13th – creating a nice open sound (you can hear this concept used by many great improvisers such as Art Tatum, Monk, and Dexter Gordon).
There is a play along mp3 below to help you hear the harmonic context of the melody and also a “sing along” mp3 with the melody for ear training, singers, or those suffering from RSI or carpal tunnel syndrome. In the video I first play the resolution melody (5, 13, 9, 13, 5, 9) in the second bar of the play along through the keys. Next I play just the V7 melody resolving just to the 5th of the resolution chord through the keys and lastly I play the whole melody through the keys.
This lesson covers a great melody from one of the Bach Cello suites which has been extended slightly to cover the whole major scale.
The sequence outlines the main seven chords found in the major scale (in the key of C: Fmaj, B-7b5, E-7, A-7, D-7, G7, Cmaj); the root motion moves in diatonic fourths. I’ve found this exercise to be very melodic and yet strangely challenging to memorise and play technically.
To expand on this meldoy, try playing the material in smaller phrases, perhaps just outlining one or two of the chords. Also, changing the rhythm in a variety of ways should help the material become a more creative part of your vocabulary.
I thought it might be nice to work with a variation on Lesson 1 (Spread Triads) – In this exercise we play spread major triads a tri-tone apart, a sound which will work nicely over a dominant 7th chord with with a b9 and a #11 (or as a substitution).
This is one simple way to begin hearing larger intervals and shapes while still maintaining melodic and harmonic integrity. I like to work on the material slowly with a metronome while trying to sing and memorize each interval right from the start. This helps to internalise the new material quickly and exercise your analytical mind. By singing melody slowly over a drone in a key that fits the range of your voice the larger intervals will become easier to hear and to incorporate into your improvisation.
There is a PDF and video of me playing the lesson below. The melody is played through the 12 keys starting on Concert C7.
This is a nice triadic idea that works through a dimished scale. By simply playing 2nd inversion major triads down by minor thirds you get a nice melodic line that clearly outlines the 4 major triads found in diminshed harmony.
This line also works nice over a dominant 7th chord with a #9, b9, #11, 13. Or over a standard diminished chord. Since it is so symmetrical, it will work nicely for playing outside the changes as well…
The line is played around the circle of 4ths starting on concert C. After you feel comfortable with the melody, practice improvising with the underlying structure (major triads descending by minor 3rd). Using this basic schematic, you can discover endless melodies.
Scales have been a popular thing to practice in both the jazz and classical world for years. Playing through scales as been compared to a painter mixing paints from the primary colors.
Scale practice can help you hear subtleties in harmony and melody while at the same time, building applicable technique on your instrument.
This is the simple way I like to work on scales:
1. Play a voicing or an arpeggio that outlines the chord or harmony that the scale will be heard with or against.
2. Play the scale trying to the underlying sound of the chord.
3. Play that same type of scale through the 12 keys.
This lesson covers 3 common scales derived from melodic minor harmony:
1. The locrian raised 2 scale (over -7b5 nat 9)
2. The altered scale (over 7#9,b9,#11,#5)
3. The lydian augmented scale (over major 7, #5,#11, 13)
This approach can be applied to and chord/scale combination and should help you hear the underlying harmony and the melodic sound of the scale.
This is a short, 1 chorus etude over John Coltrane’s Giant Steps progression. It incorporates a few different conceptual ideas which I find useful.
In bars 1-2 and bars 5-6 what is sometimes referred to as a “classical augmented” scale (see PDF below) is used to create a simple descending linear melody. Since one scale works in 3 keys, a major 3rd apart, it is a good fit over Coltrane’s tri-tonic progression.
In bars 3-4 and bars 7-8 I use a simple pentatonic idea modulated and grouped in 5 eight-notes to create a slight rhythmic displacement.
The rest of the line is a series of fairy inside ii – V7 – I melodies.
I’ve always found it effective to work on a specific melody in order to incorporate a general concept into my playing. For instance, when learning to use the #5 on the dominant 7th or i diminished as a substitute for I major 7, a short melody that does this clearly can come in handy as a learning tool. Once it is memorized, internalized, and “heard” it becomes much easier to improvise using the underlying structure conceptually (harmonically) and not as a literal “lick” or “pattern”.
This melody outlines the #5 on the dominant 7th and substitutes i diminished ( w a major 7 and a major 9) for the I major 7th chord.
The line is played around the circle of 4ths starting in concert C major (D-7, G7#5, C dim). Remember – you can “substitute” i diminished for I major when you want to – you will begin to “hear” it and be able to incorporate it into your playing by ear, more naturally, without having to play it so deliberately.
In this lesson we look at embellishing a triad with specific upper and lower neighbor-tones. The bulk of the exercise will focus on a major triad with surrounding embellishment from the major scale although the concept can be applied to any chord and any scale.
The line is played in 5 different rhythmic displacements; as eighth notes on beat 1, eighth notes on the “and” of beat 1 and lastly as all triplets starting on the 1st, 2nd and 3rd triplet of beat 1. The melody is played through the 12 keys.
Start by singing the melody to get it in your ear. It will sound like 5 distinct melodies when heard correctly displaced against the harmonic rhythm.
