progress further on improvisation

marcelodamon

Great post!

I agree with Denis and Stuart especially. The only real way to learn how to improvise, in any style of music, is exactly what the greats do "over" the chord changes of a given song. These days, I do notice a sort of continuum in contemporary gypsy jazz, with overt virtuosity on one end and sheer melodic genius on the other. IMO, only a few players in the whole gamut of improvised music were able to transcend this contiuum. Django was the champion of gypsy jazz, obviously, but in more traditional/strait ahead/modern jazz, there are Art Tatum, Charlie Parker, Wes Montgomery, Joe Pass, George Benson, and Pat Metheny, among others.

To be brief, learning to improvise is like learning another language. You start with small, easy words first (scales, arpeggios), then move on to longer sentences (melodic phrases), and with time and study, you develop a command of your instrument and improvisational ideas just as Shakespeare commanded the English language in his time.

I wrote a few articles on:

http://www.djangology.net

on what I thought were important points to address when developing your improvisational prowess. I hope it helps!

Regards,

Marcelo Damon

Oh, and I have played classical guitar for most of my life, in addition to jazz, so I agree with Denis, in that classical guitar is an entirely different instrument altogether.

Bones

Ok that makes sense. Thanks Stuart!

Jazzaferri

A couple of suggestions.

Pick short phrases of whoever, Django, Fapy, Stochelo etc that really speak to you. That you really like. Maybe a bar or two long. Learn them somyou can play them without thinking. Thst means learning where they fit in the harmony of a song as well. Once you have learned several, figure out ways that you can combine them. That way you start to develop your own collection of go to phrases

When learning to improvise pick songs that are harmonically simple to start. Minor swing, dark eyes blues clair,. Then expand into rhythm changes songs. 1,6,2,5.

To really know your song you should be able to play arps with correct rhythm and syncopated notes through the chord changes without having to think about what you are doing. Until you are that comfortable the harmonic structure isnt grooved and will hold you back in improv.

Dont move on to the a new song until you have mastered the old and master playing the rhythm chording before you start on the soloing. Tis last will be the advice that is most oftenignored :twisted: :x

There are lots of songs where the tonal centre changes several times. The key of the song changes and what works will require accidentals to the key signature. Thats why its important to start on simple songs. Once you have a number of phrases developed to work through the usual changes 1,4,5 in blues 1,6,2,5 I got rhythm, (aka rhythm changes) and the various substitutions you will have covered a lot.

My piano teacher who is an amazing jazz pianist and composer taught us that 95% of all songs can be covered if you know two sets of changes and their substitutions. If people areinterested i can post it somewhere with some help to figure out how to post the chart.

murillo

My piano teacher who is an amazing jazz pianist and composer taught us that 95% of all songs can be covered if you know two sets of changes and their substitutions. If people areinterested i can post it somewhere with some help to figure out how to post the chart.

Wow this sounds really good. I am defiantly interested. About posting the chart I´m not sure but don’t you just click on the Upload attachment? :shock:

Jazzaferri

The upload part is easier, scanning the chart in will be the bigger challenge for me. But to provide a teaser :shock:

The two progressions are I, IV, V, I and I, IV, iv-7, I.

Well i will try here

Chord-------------------1------------------------IV-------------------------V---------------------iv-7

Options--------------I maj7--------------------IV maj7-------------------V7------------------- ii-7b5
------------------------iii-7----------------------ii-7--------------------- vii-7b5---------------- bVII7
------------------------vi-7---------------------bVIImaj7------------------ bII7-----------------bII maj7
---------------------------------------------------------------------------------------------------- bIV maj7

in key of C progressions are C, F, G, C C, F, F-7, C

A b in front of the number means a flat two so in key of C = Db Cap roman numberal are major/dominant chords small moman numerals are minor chords So the third option for IV (F) in the key of C is a Bbmaj7

There you have it. I will figure out access to a scanner that works and post soon. 8)

wim

Possibly a bit more readable in monospace

[code]Chord-----------1---------------IV-----------------V-------------iv-7

Options---------I maj7----------IV maj7------------V7----------- ii-7b5
----------------iii-7-----------ii-7-------------- vii-7b5------ bVII7
----------------vi-7------------bVIImaj7---------- bII7----------bII maj7
---------------------------------------------------------------- bIV maj7
[/code]

Jazzaferri

Ahhh, well to be young and gifted in computer stuff.

jlander9

A b in front of the number means a flat two so in key of C = Db Cap roman numberal are major/dominant chords small moman numerals are minor chords So the third option for IV (F) in the key of C is a Bbmaj7

Hello, i'm a novice at theory can you help me out here. I think i have the basic idea. Are these the substitutions for the I-IV-V-iv7? in C they would be C-F-G-Fm7. in the second option they become Em7-Dm7-Bm7b5-Bb7; in the third option they are Am7-BbMaj7-Db7-DbMaj7

What do you mean by changes and their subsititutions?
Thanks for the help.

Jazzaferri

The two Chord progressions straight up are
I,IV,V I........and
,I IV, ivmin, I .................... the chart is just abbreviated

in the key of C the chords are

Using Triads only (3 note chords) I = C ------ IV = F ------- V = G -------- I = C or using Nashville numbers 1,4,5,1

and C, F, ivmin7 = Fmin7, C ----or Nashville numbering 1,4, 4min,1

Using 4 note diatonic (all notes in the key signature) sevenths in the key of C

Cmaj7, Fmaj7, G7 C7

and the second type

Cmaj7 Fmaj7 Fmin7 Cmaj7



So for example the chords for the A section of I Got Rhythm in the key of C major (no sharps or flats) played really straight are

Cmaj, Amin7, Dmin7, G7

The Amin7 functions as a 1 chord (it is the relative minor of C major) The Dmin7 is a substitution for the Fmaj7 (it is the relative minor of F) then the G7. If one were being creative one might substitute the G7 with Db(C#)7 as per the chart under V

This is the classic tritone substitution but more on that later. The result of this substitution is the root (bass) note of the chord progression goes from D to Db to C which soulds kinda cool. 8)

Hope that helps

For those that are into it I is the tonic function or tonal center IV is the subdominant function and V is the Dominant function

jlander9

I think I am on the same page now . the relative minor substitutions for Cmaj7=Amin7, Fmaj7=Dmin7 and the Tritone subsitution of G7=Db7. So you get the I-vi-ii-V progressionm rythym changes. I'll be delighted if I got this. Great lesson Jazzaferri, much appreciated.