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Not knowing your particular background or skill level the question is incredibly broad. From the point of view of an experienced improviser what's going on here is fundamentally very simple.
Pianist 1 is playing around in A minor. If you don't have the ability to recognise a pitch from memory (perfect pitch, I don't have it and it's a very rare ability) then ...
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Two modes are parallel if they share the same tonic. That is, D Major, D Minor, D Dorian, and D Mixolydian are all parallel modes. Using a parallel mode will cause a chromatic alteration to your usual key signature. For example, Dorian uses #6 and Phrygian uses b2 (when compared to a minor key or Aeolian mode), while Mixolydian uses b7 and Lydian uses #4 (...
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How do I understand the mixture of the major and minor blues scales in an applicable way?
The short answer is that the mixing of major and minor tonalities is the essence of blues.
Many people draw a distinction between "major" and "minor" blues scales, where in C the major blues scale is A C D E♭ E G and the minor blues scale is C E♭ F G♭ G ...
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The difference is all about what is the tonic and how a tone become perceived as the tonic.
In C major C is the tonic. In E Phrygian E is the tonic.
Unless you're talking about Gregorian chant (no chords) I think the most practical way of understanding the tonic is through harmony.
Let's look at the group of tones D E F and melodically target E...
...at ...
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tl;dr: You can always guess what notes to play by ear and find what notes sound good, but at the end of the day you are playing in a scale and you should be aware of that.
There are some guitarists that don't know scale (or music theory for that matter) and they tend to play by ear. They listen to the progression and try to play something over it and find ...
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Never mind what's wrong with you. What's wrong with your teacher?
May sound harsh, but it would appear your teacher hasn't explained, at least in a way that you understand, how to play over a backing track.
It is entirely possible to play one note, and make it work over a track. You don't need loads - BB King proved that sort of idea.
For me, to be able to ...
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Learning licks and solos by other musicians can be helpful in this respect. Obviously you'll want to develop your own voice, but no musician exists in a vacuum and it's definitely helpful to learn and analyze (if even unconsciously) the kinds of things musicians you admire have played. Depending on your style and the direction you want to go, it may be ...
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A melody diatonic to the key can be accompanied with just I, IV and V chords, but this will give a less rich harmonization than using a wider variety of chords. But based on your question, you want to keep things simple.
That being said, do not feel you must match one of these chords to every single note of the melody. Using a reasonable harmonic rhythm, ...
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First of all, it's important to realize that you've set yourself a very difficult goal. But from what I read in your question, I think you could improve on the way how to approach that goal. As you know, bebop is usually played at fast tempos, and the melodies and improvisations have a tendency to be complex. So bebop standards are usually not a good ...
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Accompanists tend to mainly think in terms of chord sequences rather than individual notes. Guitar of course is primarily used today as an accompanying instrument, but piano was and is also regularly used. This is the core skill required for playing with other people and for improvising.
Experienced players can identify the chords played by looking at a ...
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Guide tones in a lot of ways are what "define" the feel of a jazz chord, and get you from one chord to the next. This should make it pretty obvious why they are useful in improvisation, since anyone who's ever tried and failed to improvise over an unfamiliar set of changes before didn't know what they were supposed to sound like and couldn't figure out where ...
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Diatonic substitution is changing a diatonic chord into another diatonic chord with a similar function. For example, in a C major tonality, you can often reharmonize a melody harmonized with F[maj7] with Dm[7] (or vice versa). These chords share some important notes which makes them functionally similar (both have subdominant character).
Chromatic ...
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"Fundamental differences" is something that is open to interpretation. Jazz, a great-great-great-great step-grandchild of classical music certainly shares some of the rich musical heritage of European and African traditions which gives it "hybrid vigor."
Nevertheless, classical music improvisation delves into many areas that jazz only hints at.
Here's ...
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Just see how many different sentences you used in these three lines you posted! 5 Different ones, which where separated by punctuation marks. Think of music as a language (which it basically is). It would be weird for a person to speak and not use any punctuation marks, to differentiate the sentences; music works the same way, with many kinds of cadences (...
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Where my confusion really comes in is that if the song is in the key
of G does that mean I'm only allowed to play the notes in that scale
(G,A,B,C,D,E, F#)?
The key of a song does not determine which notes you use for the bass-line on a particular chord - the key represents the overall sonority of a song, not all the chords, or the notes they comprise. ...
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Try working around chord tones.
Three things you can add to playing only chord tones are auxiliary tones, passing tones, and enclosures.
The enclosure example shows enclosures targeting each tone of a major scale, but you can use an enclose to target chord tones.
All three can be modified in various ways...
If only the various figures for auxiliary and ...
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A full backing track has SO much more harmonic power, with bass and harmony instruments, it rules and bulldozes over your feeble little solo notes. Mode is not just a set of note names, because one of the notes is the King, home note, harmonic center of universe, the tonic. C Ionian and D Dorian have all the same notes, but a different center note.
Mode = ...
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I once wrote a software walking jazz bass line generator that created reasonable bass lines in 4/4 time given a key and a sequence of chords (one chord per measure). Source code is not available but I'll explain the basics of the algorithm here. I know it's not really art and it only represents a gross simplification of the actual practice, but it can give ...
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The point of a bass line is to express the melody and harmony of a song.
This means that you should play the notes that make up the chord as well as the notes of the melody. I know that sometimes this is hard, because a chord has (usually) a minimum of 4 notes and the melody can have as many and even more, but you need to find the most important ones.
So, ...
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There are two components involved here. One is indeed ear training, and the other one is knowing your instrument well, i.e. being able to produce any melody as effortlessly as you do with your voice. And for this second part, you do not need to consciously know the intervals as long as you intuitively find the right notes on your instrument.
But anyway, ...
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To answer this, we can arrange the modes in order from those that have the highest-pitched notes (largest intervals relative to tonic), to those that have the lowest-pitched notes (smallest intervals relative to tonic), then compare the resulting intervals. Note how, in this order, each following mode is identical to the previous one, except for one scale ...
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A cadence does at least two things. It makes a statement about what key you are in at the moment. It also indicates a completion of a thought and therefore the beginning of another, similar as you point out to sentences or clauses in writing.
But cadences can also be avoided. In his opera Tristan and Isolde there is a scene where the composer Richard ...
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Reading music - safe. Regurgitating others' riffs - safe. Both, when one is good at either (or both) have a certain authenticity to them. 'I play what's written - if it's written, it's probaably good, so that makes my playing sound good'. 'I play just like Clapton did on that track. If it sounded good when he played it, and I play it well, it makes my ...
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A walking bass line can in principle contain arbitrary chromatic runs, but obviously it's not a good idea to do that all the time. Often it's best to keep mostly to the chord notes and add some extra melodic spice just when it makes sense for supporting the harmonic movement. Other times, there may be a particular melodic line consisting almost entirely of ...
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There are many different ways to approach the bass and the approach that you take may depend on what styles/genres of music you are playing. The first thing that you want to do is understand the traditional role/function of the bass within a piece of music. Speaking generally, the bass is used to add depth to the harmonic content and to connect the rhythm ...
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Short answer. The short answer is yes: because all 7 scale degrees are represented by one of the chords, it is possible to make a harmonisation that only uses I, IV, and V. This is pretty close to how a typical treatise of music theory starts: start with these harmonies, and add more as need be.
Long answer. The longer answer is no. Although you can string ...
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If by "inner ear" you mean the ability to improvise without actually hearing what you play, and still knowing pretty much exactly what it sounds like, then nothing even close to John Coltrane's skill level is needed. Even I can do that easily. If you can sing an improvised line and then repeat the same line correctly with your instrument, then you played ...
answered Mar 20 '19 at 7:20
piiperi Reinstate Monica
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I'm afraid a tendency to work just with 'the changes' and ignore the original melody is endemic in today's jazz world. Particularly if your improvisation technique is based on the chord=scale system. I agree that it's an excellent idea to start of by presenting the original melody. Many players don't.
What can I say? You've noticed that your ...
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I am not a music teacher, have not been teached by a music teacher and would not consider myself a 'good' guitarist. But I remember having similar problems in terms of improvisation. When I tried to improvise, I felt like I don't know where to go or what to do.
The thing which helped me a lot was to focus on call and response. A friend of mine showed me a ...
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