Welcome to Improvising 102.
This is where we're going
to work on going from one,
One chord to another chord,
going back and forth.
But how to play a phrase,
connecting each chord together.
So on one-on-one, we talked about the fact
that when you're playing one chord,
you're creating your phrases,
just one phrase of the time.
It doesn't have to be long.
It can be but it doesn't need to be.
Probably shouldn't be quite frankly.
Where the beginning of your phrase is a
chord tone a root third, fifth or seventh.
And the end of that melodic phrase
is also a chord tone, root third,
fifth or seventh.
And so now you fill in that phrase.
You make your melodic statement by using
notes that are diatonic to the scale you
You also have the option of using
chromaticism, chromatically you can
connect one chord tone to another
chord tone by using chromatic notes.
Good, so now we're going to simply just
incorporate one more chord, because a lot
of music has more than just one chord in
it and it becomes a lot more interesting.
So it's very simple, the whole concept,
which is, Now think about this.
Look at a song like the sheet
that I provided for
which is labeled Improvising 102.
I'm looking at my E flat saxis part and
if you're playing tenor or
soprano look at the B flat saxis part,
so I've got two chord on my chart,
looking at A major seven, the same as
what we used in Improvising 101, but
now I added one more chord a minor third
above it, we go to my C major seven so.
If you're playing a B flat instrument,
you're going from D major
seven to F major seven, okay?
you can see it's a little
bit of a longer form.
Each of the, forgive me.
Forget about the 12 four.
Again, I wrote that so you could see all
the notes of the arpeggio in both
measures without any bar lines.
So there we go.
So forget about the 12 4.
[LAUGH] That'd be a little tough.
we're going from these two chords.
The idea simply is that you begin
your phrase on a chord tone
of the key that you begin with and
if you're playing
obviously on this song you have
two chords that last two bars.
Each chord lasts two bars long.
So, your first statement isn't
going to be two bars long.
It might be, but it wouldn't be.
So if you're still playing in one chord,
your last note is still going
to be in that first chord.
The point is,
the first note of any new chord.
First note of any new chord is gonna
to be a chord tone of that new chord.
So if you're going from a my chart
A major to C major, you're gonna to play
a note from your first note of
that bridging lick, if you will.
It's gonna be a chord tone coming from
A major either A, C sharp, E, or G sharp.
And you're going to land on
a chord tone of the second chord.
Either the C, the E, the B or
the G, or the B, C, E, G or B.
Route third, fifth, or seventh.
So, it might make it sort of a little more
obvious to play it along with the track,
I provided a track for you,
as you may have expected by now.
And, so, yeah.
So, all you have to think
about is when your, well,
one thing you're thinking about for
sure is the form of this song.
It's going by one, two, three,
four, one, two, three, new chord.
Bang, two, three, four.
So the tempo was like that,
so if you're playing a lick.
That is going from A major 7, to C
major 7, or if you're playing tenor or
soprano if you're playing you know,
your D major 7 to F major 7,
make sure that when you play a lick that
goes from the first chord to the second or
then repeats back to the first
that your using the first
note of every new chord is gonna be
the chord tone of that new chord.
Is that cool?
Here's an example of
what I'm talking about.
Here we go with the track.
Okay, so as I was playing that,
I was playing nothing but
notes from the A major
scale while the A major
chord was sounding,
and no notes other than the C major
scale when the C chord was sounding.
I made sure that,
as you have guessed by now, that the first
note of each phrase I played was
a chord tone of either chord.
And the last note of each phrase
that I played also was a chord.
So a phrase or a motif or
a statement, needs to be from the time
you start one idea to the time you stop.
That's a motif or
however you want to call it, a phrase.
So the interesting ones are when
you bridge one chord to the next.
And so by making sure that
you identify the chord by
playing one of the notes of that
chord's arpeggio, it locks it right in.
Understand too, that when you look at
these two chords, I'm looking at my E
flat chart here, but when you look
at the arpeggio of the A major,
you've got your A and
C sharp and E and G sharp.
When you get to C major seven,
the E is a common tone, so
there's an E found in
the arpeggio of the A chord.
There's also an E found in
the arpeggio of the C chord.
So, if I play that note over both chords,
it really sounds cool.
So it's not like you've gotta go,
necessarily, to a different chord.
When you look at different
by the way,
that's gonna happen all the time.
You're gonna find common tones
from one chord to the next,
and it's really fun and
musically melodic to exploit those.
And when the melody note does not
change but the harmony under it does,
that's a cool composition tool as well.
But improvosationally, certainly.
So be aware of that.
So, like I said, I did nothing but
play diatonic notes.
Now I want to do it again, as I'm going
to encourage you to do as well, and
use some chromaticism.
So same idea, you can go chromatically,
no matter which chord you're playing over
obviously, but making sure that when you
go from one chord tone to the next chord
tone, now we can use either diatonic notes
or chromatic notes to fill in our phrase.
So, here we go with some improvisation
of motifs that incorporate chromaticism.
Okay, so now we've gone over how
to improvise a line over just one chord,
We're starting with our arpeggio notes,
we're ending our phrase with our
arpeggio notes and using other notes
between either diatonic to the scale or
chromatic and now in improving 102
we've bridged two chords together so
that you know that when you started
one chord and end in another chord
the first note of that new chord
has to be, has to be a chord tone.
Okay, it has to be that's the rule.
Rules can be, massaged but
we have to learn the rules before
we can do anything with them.
And by learning these rules it really
helps you create improvisations
that make sense,
that lead into the chords.
So now, Improvising 103 is going to bring
it all together and we're going to work
on a tune that has more, a lot more,
than just two chords in it.
But we're gonna,
I'm going to teach you how to
create one line that goes through
the entire chord progression and
create a logical great solo over
any tune that comes your way.
So, stay tuned.