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Posts Tagged ‘Major Scales’

Jazz Piano

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Jazz piano is one of the most vibrant, energetic, specialized types of music. Famous jazz artists you may want to listen to are Herbie Hancock, Keith Jarret, Bill Evans, to name but a few. To learn jazz piano you need to take some time to listen to jazz CD’s and maybe watch DVD’s as well. To learn jazz piano, one needs to be very patient and dedicated to practicing the genre.

Jazz piano is characterized by a lot of improvisation. A jazz musician can be given a fake music sheet or chord chart and he can improvise on the spot over those chord progressions. It is recommended that a jazz musician know or have standard songs in their repertoire. Standard songs include songs like “Willow Weep for Me,” “Summertime,” and “Georgia on My Mind” to name but a few. Standard songs are songs that have been covered by many recording artists in the past, usually every year. For example one may consider the gospel song “Amazing Grace” a standard gospel song because a lot of artists have covered the song throughout the years.

Knowledge of scales and chords are essential tools needed to be a good jazz musician, let alone the technique needed to play this genre. As a jazz musician you will need to practice different types of scales, chords, arpeggios, staccato playing, legato playing, playing chords on the left hand while playing scales in the right hand at the same time.

To learn jazz you need to start with the basics: minor and major scales and minor and major chords. Once you master these then you can go forth to learning advanced chords(jazz chords) and scales. These chords include diminished, dominant, major nine, tritone chords, etc. Advanced scales will entail learning lydian, diminished, chromatic, melodic minor scales, for example.

You must remember that when it comes to playing the piano, it is not how you play but how you play is very essential as well. This is the reason why you need technique: how hard or soft do you play the notes, how you sit at the piano, breathing, how you position your hands and fingers on the piano, playing chords and scales, etc.

You will definitely need resources to play the piano, someone to hold you by the hand. The key to mastering jazz piano is to learn (get as much information as possible), patience and practice!practice!practice!

By: Jay Mtimkulu

How to Use Major Scales in Jazz Improvisation

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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

How to Use Modes in Jazz Improvisation

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To form the modes, first we must have an understanding of the the major scale. If we number the notes 1 to 8, we can change the order we play them in by starting on a different note instead of 1. I can play the following combinations:

- 12345678
- 23456782
- 34567823
- 45678234
- 56782345
- 67823456
- 78234567

Basically I started the scale on 1 and returned to 1, then I started it on 2 and returned to 2, then on 3 and returned to 3 etc. In this way, all of the pitches had a chance to be the first note in the scale. If you look closely at the notes, you will see 7 different places we can start the scale, because there are 7 different pitches in the scale.

These different starting points are called MODES. There are 7 different modes, because there are 7 different notes in the major scale. Each of these modes has a name:

Mode 1= Ionian
Mode 2 = Dorian
Mode 3 = Phrygian
Mode 4 = Lydian
Mode 5 = Mixolydian
Mode 6 = Aeolian
Mode 7 = Locrian

If I compare this to a C major scale and play from C to C, I would call this MODE 1, or Ionian. Most people know this mode as major. If I start the scale on D, the second note, and play from D to D using the same notes as C major I will be playing MODE 2, or the Dorian mode. Start on the 3rd note (E) and go from E to E still using the same notes as C major, I’m playing Phrygian mode. You can repeat the process through all of the seven modes.

Since there are 12 major scales and each major scale has seven different modes we now have 84 different scales to worry about! The good news is that there are really only 12 major scales, and 84 different places to start them. By now you are probably thinking “why do I even need to know 7 different modes if the notes are all the same”? It is true that the notes are the same, but the difference is the chord.

By: Pete Swiderski