Beginner impro modes again

[jeremyjuicewah]

THIS FROM ALDEVIS:

I know that it is a lot of work, but the OP says Bm.
It means B, D, F#.
Everything else are just more or less good sounding passing notes. On one hand this means you have to re-think the rank of notes in a scale (i.e. in C major, F is the last note you want to play), on the other hand it gives you more flexibility, in particular when you are on dominant chords.

This little snippet is a great one for me. It simplifies the whole process of finding a satisfying way through a scale. Nice one.

ARTYLADY:
I often trascribe and often write the dots to pieces. I am sure I concentrate too much on detail but its how I've always learned. When younger and less confident I would write out every word of a presentation, even if it was an hour long, then take the paper in and hardly ever look at it. Works for me.

Thanks all
Mike

 

[Jazzaferri]

The op says the key is Bm. The tune has chords. And there are lots of chord subs that work too.

Playing an f in c major is pretty inside sounding to my ear, against a c7 chord can be pretty dissonant sounding depending on the context and is definitely a handle with care note in a melody or longer note context.

 

[aldevis]

Playing an f in c major is pretty inside sounding to my ear, against a c7 chord can be pretty dissonant sounding depending on the context and is definitely a handle with care note in a melody or longer note context.

Big can of worms: F on Cmaj pushed George Russell to develop his Lydian concept (F# instead of F)
F on C7 (dominant chord) was considered consonant by Rimski Korsakov (11th dominant chord) and often played by John Coltrane as an anticipation of the tonic.

Harmony (and music theory) is just a way of analyzing/memorizing/learning music.
All the rules go down the drain when Miles Davis pays the most beautiful E natural on a Cminor chord.

 

[Jazzaferri]

So true Aldevis. As has often been attributed to Bird ....learn all the cords scales and arpeggios and then forget em and play music

Still it's useful for those who are asking such questions to be aware that some notes of the scale have a more dissonant or tension creating sound DEPENDING on the context of what else is being played.

As Thelonius said, there ain't no wrong notes. Leaving out the obvious unless The player thinks them so. LOL

 

[ArtyLady]

Hi Arty Lady,

Well, by transcribing , do you mean actually writing down a solo?....I don't do this however I copy the phrase, or tune by ear, sometimes I write the notes into the Transcribe Programme, I really don't have much awareness of the scales, maybe this is where I'm missing the boat. Even when I arppegiate or put a scale in the right place it sounds boring as hell.
I have also been learning riffs and some pentatonic Maj & min patterns, and trying to play these in all keys.

As was stated earlier...getting to the point where you then ignore them and just play is quite a process

Yes - then you can go back over it to pick out any scales you recognise that they have used to make a lick - it might be something really simple like a minor triad moving up chromatically to get to chord change or something more complex like a diminished scale pattern to add colour. You probably could do it by ear but I usually write it down - just my preference. 🙂

 

[Gar]

TOMORROW!
B blues then: BDEFF#AB, but don't indulge on the F natural.

Holy Cow! I never have had any musical theory class, or any instruction other than in grade school, but I just played some improvised riffs on the keyboard using that key, and it didn't sound half bad. Now if only I could do it that well on the sax.