The minor key has a lot of interesting options, and also quite a few that you don’t have in Major. This video goes over some of the beautiful progressions that you can create in minor when reharmonizing a basic II V I, and you can go pretty far.
This video will give you a lot of examples and concepts to add to your repertoire!
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There are many ways you can reharmonize chord progressions. In this video, I am going over a method that is simple and easy to use. I am using basic functional harmony to show you how you can create amazing jazz chord progressions yourself and really change the color of the songs you play.
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It is difficult to combine scales and arpeggios and most of us struggle with arpeggios into music and to make it something that we really make music within our Jazz Guitar Solos. In this video, I am going to take you through a challenge, and you are going to figure out if there techniques for making lines or licks, that you don’t know or use. You can keep score and see if there is anything you want to add to your playing or develop further. So the focus is not really on learning new arpeggios but learning how to use them in your playing.
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When you practice Jazz Guitar, then the most fun part of practicing is to work on new things you can add to your playing and enjoy using it while playing music. But often the way you start working on new material actually also stops you from getting it into your playing, and that is what I want to discuss in this video, and of course, give you a few easy ways to fix it.
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When I look back at when I learned how to play jazz guitar then there are some things that I did which in hindsight clearly helped me get further and took me up sometimes several levels.
Most of these habits I didn’t think about in a strategic way, but I think that if you are trying to learn Jazz then these 5 tips are important for you to consider and will help you learn more and learn faster, which in the end also often means having more fun doing so.
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You probably already practice arpeggios, but chances are you can do it as a better Scale exercise than what you are doing now, and that is what I want to talk about in this video. Jazz Scale Exercises should be about giving you the material you can use in your solos and help you know and play the different arpeggios and melodies found in the scale.
When you improvise in Jazz then the lines or melodies that you play are related to the chords you are playing over and the solo follows the chord progression it is played over. One easy way to do this is to use the arpeggios of each chord.
You can use the arpeggio of the chord you are playing over, but in fact, there are more options than this and the exercise in this lesson will help you tie all of that together in one exercise.
Practicing Arpeggios in the Scale
The reason why it makes a lot of sense to practice diatonic arpeggios in a scale position is quite simple.
When you improvise a solo you are not only playing scales and then only arpeggios. The jazz lines you are making are a mix of the two. Therefore it is essential to have the arpeggios placed in a scale as notes that are important, and the rest are available.
Here is a C major scale in the 8th position
Playing the diatonic one-octave arpeggios through this scale position would give you this exercise:
Know the Scale!
Often when you learn Guitar in the beginning you rely mostly on the visual aspect of the instrument. Scales, Chords and Arpeggios are shapes that you can see on the fretboard.
This works really well for learning and remembering, but make sure that you also know what notes you are playing and what notes are in those chords and arpeggios. It will become very useful along the way.
For the exercises here above, it is a very good idea if you also play them while saying the notes or saying the names of the chord that you are arpeggiating. This will teach you the fretboard and the music theory on another level and also really attach it to what you play.
Using the arpeggios in your solos
It is not enough to just practice the scale exercise and then hope that your solos will suddenly magically include the arpeggios.
To show you how you can make some basic licks mixing scales and arpeggios here are a few ideas using a Cmaj7 arpeggio and chord.
The first one starts with the Cmaj arpeggio and then continues with a scale melody.
In the second example You can see how it is possible to mix scale notes into the arpeggio and also add a little chromaticism to more of a bebop sound.
Bebop Arpeggios!
This is a great variation on the exercise that also is really setting you up to play some bebop lines. Here you play the arpeggio as a triplet and insert a chromatic leading note in front of the root. This creates some energy and motion that then really brings out the target note that is the 7th of the arpeggio.
This exercise for the scale looks like this:
Make some Bebop Licks!
Using this way of playing arpeggios can be used in licks like this.
The first lick is using the Cmaj7 arpeggio in the lower octave and combining it with an intervallic melody in the2nd half of the bar.
The 2nd example is using the higher octave and adding a chromatic run between D and C before ending on G.
The Arpeggio from the 3rd
Until now I have only been talking about what how to use the basic Cmaj7 arpeggio over a Cmaj7 chord, but you can use more arpeggios.
The way to understand this is quite simple. You can use other arpeggios that contain notes that work well on the chord. The Arpeggio from the 3rd of a chord is usually a great option:
Cmaj7: C E G B – Em7: E G B D
So the two arpeggios share E G B and the Em7 is only adding the D on top of the Cmaj7 which is the 9th and a good note to add in there.
A few ways of playing an Em7 arpeggio in this position is shown here below:
Jazz Licks with an Em7 arpeggio on a Cmaj7 chord
You can use the Em7 arpeggio like this.
The first example is a basic “bebop Em7 arpeggio” that continues with a more modern sounding Quartal arpeggio from B.
The 2nd example is again focusing more on adding some chromatic ideas. Here the first half of the bar is a chromatic enclosure that is leading us to the first note of the Em7 arpeggio.
Putting all of this into a II V I lick
To give you and idea about how easy this is to generalize to a progression I have added this final example.
Take a look at the lick and see how I am using Fmaj7 on Dm7. Both Bø and G7 on the G7 and also both Em7 and Cmaj7 arpeggios on the Cmaj7.
You hear exercises being described as unmusical very often. But how much sense does it make to label a jazz guitar exercise as unmusical? When we practice then it is maybe more about looking at the skill we are improving than whether an exercise is musical or not?
In this video, I am discussing this and also going over some common misconceptions about different types of guitar practice like metronome practice.
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A thing that is never mentioned when it comes to Music Theory is that there is a basic knowledge you want to obtain and then the rest gets easier. There are things that you need to know and work on that will make the rest very simple when combining Music Theory, Jazz Guitar and Practice.
In this video I am going to talk about three things you can learn or train for your music theory that will help you build a foundation to have an easier time understanding chord progressions, extensions and voice-leading. I am also going to relate this to what you need if you are improvising over chords, since that is what I am using the theory for.
Instead of looking at voice-leading upper-structure triad pairs in Utopian b7 minor then you can easily build the basic knowledge to make all the other stuff easy to understand.
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It is not surprising that a Coltrane solo isn’t bebop, but it is interesting to figure out why that is the case. Understanding what types of licks or melodies are typical for a style of music is a really good description of what is going on.
The solo that I am talking about in this video is John Coltrane’s solo on the F blues – Take the Coltrane off the Coltrane/Ellington album from 1963.
In the video I am presenting an analysis of the solo with a focus on the melodies, there placement and function in the form and not only the notes that are being used. I find that it takes a more detailed view to understand a solo than just what scales are being used.
Let me know what you think?
A few thoughts on this Coltrane solo Analysis
As always music is not an exact science so this solo has a lot of traits that are really not bebop sounding but it still contains examples of normal bop lines and chromatic passing notes etc. So clearly Coltrane is rooted in that tradition even if he is moving away from it.
I am going to talk about this using three examples from the solo but it can be a good idea to check out the whole solo. There are a lot of transcriptions online so you can easily find that and listen to the solo.
Some of the things that are different are about the choice of sounds, but in my opinion it is more about how the sounds are used and the melodies than what scale. I am curious what you think?
Melodies without direction and not playing blues
What is interesting about this first part of the solo: He doesn’t play the 3rd of the chord at all for the first 8 bars, that is very different from bebop where everything is tied much more closely to the chord. Here the melodic statement is very strong and fairly long but it is intentionally vague. If you play the melody it could fit on a Cm blues just as easily as a F blues which is not really going to be the case for a Parker or Stitt solo. There is a Wes solo that does this as well and Wes would often sit heavily on the “II” sound on a V chord.
The 2nd 4 bars is a development of the first 4 but then moving with the chords, still not playing the 3rd of the chords.
So this is really about what note he isn’t playing and it becomes even more clear when we don’t have the piano comping.
Unresolving Tensions and Angular melodies
This example illustrates how the approach is much more modal. Coltrane is very often playing melodies that fit the chord but are not really functional and moving forward towards the next chord.
This is clear in the first bars where there is first an angular statement just using an F7 arpeggio. In fact using the 2nd inversion F major triad which Coltrane seems obsessed with in this solo.
A great example of how the emphasis is on sound rather than function is the Altered dominant in bars 3 and 4 of this example. Here there is a clear altered or tritone sound and the b5 is really at the center of the line, but the line is not resolved. It stops before changing and the statement on the Bb7 is unrelated to the altered line.
The last part of this example is demonstrating how the chords are interpreted. The statement on the Bb7 is turned into a motief that is moved down in half steps to give us an Am7 Abm7 Gm7 progression.
Another thing that shows how this is less functional is that the final II V is replaced with C7 Bb7 in the song taking away the main cadence of the Jazz Blues.
Super-imposed Pentatonic Scales
Coltrane doesn’t really use normal blues phrasing a lot in this solo and here he does use Fm pentatonic in a way that is really typical for everybody who came after him. I think it is important to notice that using Fm pentatonic on a Blues in F is something that is quite rare with the bop guys. Pentatonic scales are not really a part of bebop in the way they are used as a sound here.
The blues phrases of Joe Pass and Charlie Parker are quite different and much more a mix of major and minor.
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A chord that isn’t in the key isn’t always a modulation. There are many chords that you will come across in songs that music theory does not describe as a modulation.
In this video I talk a bit about some of those progressions of chords. Show an example of something that is a modulation and a few progressions that are not modulations but still contain chords that are not found in the scale.
The way I view music theory is that it is a description of the music that I play that helps me understand and hear what is going on. In most genres of music you will find a lot of chords that are maybe not diatonic to the scale but are still in the key. Examples of this are found as secondary dominants, modal interchange or borrowed chords from the parallel key.
