How to Use Major Scales in Jazz Improvisation
Major Scales and Harmony. One thing that can be confusing to beginning improvisers is how many different ways exist to write the same thing. When a composer wants you to play C major, any of the following can be used. C, CM, CMA, CMA7, C (followed by a triangle), CMaj. All of those can be followed by a 7, 9, 11, or 13. The number that follows means that you can play the chord up to the 7th or 9th or whatever number is there. Even if a chord doesn’t say Cmaj9, we can always play it up to the 9th. I will use in this article the symbol Cmaj7. This is pretty standard. When a composer puts Cmaj7 in a measure he intends that you improvise using sounds from a C major scale and chord.
If I play any note in the chord, you’ll notice that they all sound good. Some notes are more “colorful” and interesting than other notes. You’ll find that 1 is a very stable note, but also very boring. The same applies to the 3rd and the 5th. The notes that are more interesting are the 7th and the 9th. If you want to go even higher the 11th and the 13th are very colorful. Let’s talk about the 11th degree (the same as the 4th) for a minute. This particular note does not work well if you just play it and hold it out. The reason is a little confusing, but you can remember that it is because there is only 1/2 step between the 3rd and 4th notes. When they are played against each other, the sound is unsettled. If you are just playing a scale and play the 4th note, you won’t notice any problem because it is just a passing tone. If I land on the note and force it on you, your ear will disagree. The most common remedy to this problem is to raise the 4th (or 11th) up1/2 step. This is a #11 or #4 (sharp 11 or sharp 4) chord. Even though the sharp 11 it is not written in our chord symbol of Cmaj7 we can add it in.
So, I see the Cmaj7 and know that I can use the C major scale or the C major chord up to the 13th if I want (watch that 4 and 11)!
By: Pete Swiderski
Posted in: Jazz Festivals