Session 2
Every chord has a related scale with which it 'fits' harmonically. This is an important principle for all musicians who wish to develop the art of improvisation. Here are some examples of common related scales and chords.
In each example, click on the mauscript to hear the sound.
Pentatonic scale has the form, T.-3.T.T.-3. (-3 = A MINOR THIRD)
The Blues scale has the form, -3,T,H,H,-3,T.
Click here to download a Scale Chart which you may use
for practice and reference.
Chord Sequences.
Referring to Session 1, it is possible to play four of the modal scales (Ionian, Phrygian, Mixolydian, Locrian )
simultaneously in the following chord sequence. Click on the manuscript to listen to the sequence.
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The Roman Numerals denote the 'degree' of the scale and therefore the type of chord used. Hence
I = Cmaj7 = CM7
II = Dmin7 = D-7
III = Emin7 = E-7
IV = Fmaj7 = FM7
V = G7
VI = Amin7 = A-7
VII = B min7(b5) = Bø
Exercise:- If possible form a group with drums, bass, guitar or piano, trumpet or any other solo instrument. Start with drums playing a six/eight rhythm. Then add the bass, playing one beat in the bar (the root of the chord), Then add guitar or piano playing chords only, then add a solo instrument playing the tune. Then experiment with improvisations, each instrument taking a solo chorus. Make sure that the rhythm remains constant throughout.
When it is mutually agreed that the improvisations have exploited the tune sufficiently,
the last chorus can be a return to the tune on the trumpet or other solo instrument.
Learn the tune so that you can play it without the 'dots' and then use the following chords in performance.
| G7 | G7 | G7 | G7 |
| C7 | C7 | G7 | G7 |
| D7#9 | Eb7#9 D7#9 | G7 | G7 |
session 1 and play the related scales of All Blues, following the chord sequence. Commit the chord sequence to memory. Be adventurous with improvisations. Use the mixolydian mode for the first improvisation and then the blues scale. There are no mistakes in jazz, only more or less interesting sounds!
Session 3