Daten über Ihr Gerät und Ihre Internetverbindung, darunter Ihre IP-Adresse, Such- und Browsingaktivität bei Ihrer Nutzung der Websites und Apps von Verizon Media. Pay close attention to how he uses scales and how he doesn’t use scales. Wir und unsere Partner nutzen Cookies und ähnliche Technik, um Daten auf Ihrem Gerät zu speichern und/oder darauf zuzugreifen, für folgende Zwecke: um personalisierte Werbung und Inhalte zu zeigen, zur Messung von Anzeigen und Inhalten, um mehr über die Zielgruppe zu erfahren sowie für die Entwicklung von Produkten. As we talked about before, there are a million ways to approach a dominant chord in a minor ii V. Yet another way is the half-whole diminished scale.
It’s mind-blowing how such a small change can do so much. First off, instead of a minor 7 ii chord, it has a minor 7 b5 ii chord. There’s so much to learn within each and every phrase. aus oder wählen Sie 'Einstellungen verwalten', um weitere Informationen zu erhalten und eine Auswahl zu treffen. When you’re first starting out with the progression to Woody’n You, I bet you’ll have difficulty moving from one minor ii V to the next. And that's why recording myself is so important. There’s a lot going on here that we can learn from. He begins with a simple motif over the G half diminished chord. Why? You need to get beyond that and not suck at half diminished chord. Thanks. This second technique stems from the first.
A simple enclosure of the 3rd on the dominant chord works just fine.
Remember, you don’t have to use the whole scale. Let’s look at how he uses this chromaticism to gain a fluidity over the minor ii V progression.
They simply don’t know what to play over this chord…. This motif is developed all the way until the end of the phrase, resolving to the major chord. When you look at charts of jazz standards, you’ll see that the editors add in alterations to the V7 chord in a minor ii V, and in general, you’ll hear alterations at this point, however, who’s to say exactly what those alterations are? It’s up to you to take them and explore what else you can do…. Let's get started! I thought someone, somewhere, posted that Nardis was actually a Carisi tune. If Bill Evans adds the 9th, what else might you add instead? It’s actually not that difficult if you master the chord tones instead of thinking of scales all the time. A small fragment like this mixed with other chord tones can sound great. I will follow the tips you've provided for improvisation. Chromaticism. An important point to note with this technique is that there’s no way you would arrive at this phrase if you were thinking strictly of scales. This phrase uses a number of new techniques that we’ll look at. They simply don’t know what to play over this chord… In this YouTube video, however, Bill Evans sets the record straight. As you’ll see, I simply label them as dominant chords and don’t add any alterations to the symbol. As compared to their brother, the ii V in major, the ii V in minor adds quite a few more challenges. Who says a tritone sub always has to be dominant? I call it a b9 scale, but you can also call it F harmonic minor. As compared to their brother, the ii V in major, the ii V in minor adds quite a few more challenges. So, a simple strategy to find great ways to play over minor ii Vs would be to find one of your personal heroes playing Woody’n’ You and go to town.
Thanks, Felix.
I'm still playing the same trumpet I played when I was in high school, a Model 37 Bach Stradivarius. Can you spot them? Indeed.
Because alterations can be implied even on a standard V chord. That gives us plenty of time to really hear the sound of each chord.
Now it’s not just the use of the minor triad, but it’s how he uses it.
By transcribing one of your heroes it’s like taking a lesson with them. Hopefully I'll have some more improvisation clips in the near future. Try it.
In this lesson, not only do I give you examples of both phrygian minor and major cadences within several standards, but I also show you how to use them to re-harmonize segments of some of your favorite standards.
Taking the Tritone major sub a step beyond, try adding the 13th to the mix. And that's why recording myself is so important. Miles Davis wrote "Nardis" for Cannonball Adderley, but the tune because associated with Bill Evans when "no one else seemed to pick up on it.".
An aspiring jazz trumpet player's blog about jazz improvisation and ear training. A Workout Plan for Better Sex. It's the best way to evaluate my playing and to chart my progress over time. In today’s jazz education world, scales are sold as the secret, but they’re not.
Then, see what other variation on the minor triad you can come up with. These 3 note melodies allow a flexibility over minor ii Vs that doesn’t seem to come naturally when you think about the progression. Dies geschieht in Ihren Datenschutzeinstellungen. Comments.