Hot answers tagged improvisation
6
You should focus on chord tones and half-step resolutions.
Let's assume the key of C.
The 7th chords in this key:
Cmaj7: C E G B
Dmin7: D F A C
Emin7: E G B D
Fmaj7: F A C E
G7: G B D F
Amin7: A C E G
Bmin7b5: B D F A
Let's use a classic jazz example, the iimin7 | V7 | Imaj7.
In C, this would be Dmin7 | G7 | Cmaj7.
To ...
1
Some simple guidelines:
Generally:
Playing tones of the current chord on the down beats will make you sound "in" (the harmony). On the up beats you may use any tones; in or out of the scale or harmony.
Specifically:
Ending your phrase on a chord tone of the current chord, especially ending on a chord tone on a (possibly temporary) tonic chord, will make ...
1
To try to avoid too much theory, start and finish your run of notes on those being played in the chord at that time. Watch the rhythm player, and use one of his notes played as a springboard for your phrase, and do the same for your last note. Bear in mind he may or may not be on the same chord that you both started on. Obviously, using the pentatonic notes ...
1
Semi-longish answer
Under most normal circumstances, resolve from the dominant to the tonic. This known as an authentic cadence (V to I). This is the most common and sounds the most complete.
There are other types of cadences, such as the phyrgian cadence (iv6 to V) and the interrupted cadence (V to anything besides I, usually ii, vi, or VI). These aren't ...
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