-Lesson 70: Augmented Melody
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
Free Jazz Education and Music
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
This is a simple melody that uses the 2nd mode of harmonic major over a -7b5 chord (or half diminished) in one key (concert F#-7b5) which is concert E harmonic major, the 2nd mode being concert F#-7b5(nat9, nat13). This 2nd
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
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
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
While working on major 7th and minor 7th “drop 2” chord voicings, I found a nice shape to work on through the keys. Drop 2 is a great way to voice chords and has been used in classical and
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
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
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
Chromatic and diatonic enclosures are a great way to begin working with melodic embellishment. In this exercise the 3rd of both a major triad (with an added 9) and the 3rd of a minor triad (with an added 9) are
Finding melodies on a single note instrument that really bring out the sound of more complex types of harmony is often a challenge. Here’s a Major 7 #5 melody I found the other day while doing some slow improvisation. It’s
Here’s an easy way to begin to introduce some wider intervals into your improvisation while still maintaining melodic and harmonic integrity. This exercise uses a dominant 7th chord, and also includes it’s upper-structure tensions (9, #11, and 13). The melody