Improvisación al jazz.pdf

8/19/2019 Improvisación al jazz.pdf

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Contenidos

• Bloque 1.

Conceptos:

Patrones

Escalas

Triadas

Pentatónicas

• Bloque 2.

Creatividad:

Interválica

Ritmo

Piano

Transcripción

Composición

• Bloque 3.

Repertorio:

Blues

Standards

Rhythm Changes

Baladas

• Anexo


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Bloque 1: Conceptos

Patrones. –

En este apartado trataremos la progresión armónica de II-V-I desde el punto de

vista de cuatriadas, patrones digitales, arpegios, voicings y notas guía.

*Hay infinidad de libros donde encontrar ejercicios sobre patrones.

Algunos ejemplos recomendables pueden ser el volumen I de la serie Inside

Improvisation de J. Bergonzi “Melodic Lines” o “Patterns for jazz” de Jerry

Coker.


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Para la fluidez de ideas y la mecanización con el instrumento se recomienda el

empleo de las combinaciones numéricas.

1345 3154 4135 5134

1354 3145 4153 5143

1435 3415 4315 5314

1453 3451 4351 5341

1534 3514 4513 5413

1543 3541 4531 5431

* Todas las combinaciones posibles para el patrón digital 1345


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Escalas. –

Utilización de la relación escala acorde, trabajo de los modos de la escala mayor,

escalas be bop y escala disminuida.


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Otras escalas:

*Escala cromática formada por la sucesión de semitonos.

*Escala disminuida o simétrica formada por la sucesión de tono-semitono o

viceversa.

* Escala hexátona formada por la sucesión de tonos.


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Triadas. –

Conocimiento de los cuatro tipos de triadas (Mayor, menor, aumentada y

disminuida) y desarrollo de las triadas Mayor, menor y disminuida con sus

inversiones en los acordes correspondientes.


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Pentatónicas. –

Conocimiento de las principales pentatónicas empleadas en los acordes y

desarrollo de las pentatónicas menor séptima (m7) y menor sexta (m6) en

acordes menores y de dominante.

Pentatónica menor 6ª

Pentatónica semidisminuida

Pentatónica de tonos enteros


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Bloque 2: Creatividad

Interválica. –

Estudio de los doce intervalos de la octava, mediante reconocimiento auditivo y

su desarrollo en el instrumento.

Ritmo. –

Trabajo de patrones rítmicos, utilización de corcheas de swing y/o even eights,

estudio con el metrónomo.

Piano. –Realización de los voicings de piano sobre el II-V-I, con el bajo en la mano

izquierda y los dos tipos más usuados de disposición de cuatriada en la mano

derecha.

Transcripción. –

Reproducción con el instrumento de uno de los standards o solos propuestos para

el curso.

Composición. –

Elaboración de un standard a partir de una de las plantillas propuestas para su

realización.


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Bloque 3: Repertorio.

Blues. –

Standards. – Ver listado de standards en Anexo


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Rhythm Changes.-

"Rhythm changes" es una estructura armónica que tiene como origen el tema "I

got rhythm" de George Gershwin .


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Esta estructura es de forma AABA de 32 compases y ha sido utilizada para la

composición de numerosos estándares de jazz , como los siguientes:

"Anthropology" (Charlie Parker/Dizzy Gillespie)

"Cotton Tail" (Duke Ellington)

"Dexterity" (Charlie Parker)

"Good Bait" (Tadd Dameron)

"Lester Leaps In" (Lester Young)

"Moose the Mooche" (Charlie Parker)

"Oleo" (Sonny Rollins)

"Rhythm-A-Ning" (Thelonious Monk)


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Anexo


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Blues in All Keys

Bb7 Eb7 Bb7 Fm7 Bb7 Eb7

Bb7 DØ7 G7b9 Cm7

Bb7 Eb7 Bb7 Fm7 Bb7 Eb7 Eº Bb^ Cm7 Dm7C#m7 Cm7

B7 E7 B7 F#m7 B7 E7

B7 EbØ7Ab7b9 C#m

B7 E7 B7 F#m7 B7 E7 Fº B^ C#m7 Ebm7 Dm7 C#m

C7 F7 C7 Gm7 C7 F7

C7 EØ7 A7b9 Dm7

C7 F7 C7 Gm7 C7 F7 F#º C^ Dm7 Em7 Ebm7 Dm7

Db7 Gb7 Db7 Abm7 Db7 Gb7

Db7 FØ7 Bb7b9 Ebm7

Db7 Gb7 Db7 Abm7 Db7 Gb7 Gº Db^ Ebm7 Fm7 Em7 Ebm


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D7 G7 D7 Am7 D7 G7

D7 F#Ø7 B7b9 Em7

D7 G7 D7 Am7 D7 G7 G#º D^ Em7 F#m7 Fm7 Em7

Eb7 Ab7 Eb7 Bbm7 Eb7 Ab7

Eb7 GØ7 C7b9 Fm7

Eb7 Ab7 Eb7 Bbm7 Eb7 Ab7 Aº Eb^ Fm7 Gm7 F#m7 Fm7

E7 A7 E7 Bm7 E7 A7

E7 G#Ø7C#7b9 F#m7

E7 A7 E7 Bm7 E7 A7 A#º E^ F#m7 G#m7Gm7 F#m

F7 Bb7 F7 Cm7 F7 Bb7

F7 AØ7 D7b9 Gm7

F7 Bb7 F7 Cm7 F7 Bb7 Bº F^ Gm7 Am7G#m7 Gm7

Blues in All Keys - Play Along2


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Gb7 B7 Gb7 C#m7F#7 B7

Gb7 BbØ7Eb7b9 Abm7

Gb7 B7 Gb7 C#m7 F#7 B7 Cº Gb^ Abm7Bbm7Am7 Abm

G7 C7 G7 Dm7 G7 C7

G7 BØ7 E7b9 Am7

G7 C7 G7 Dm7 G7 C7 C#º G^ Am7 Bm7 Bbm7 Am7

Ab7 Db7 Ab7 Ebm7Ab7 Db7

Ab7 CØ7 F7b9 Bbm7

Ab7 Db7 Ab7 Ebm7 Ab7 Db7 Dº Ab^ Bbm7 Cm7 Bm7 Bbm

A7 D7 A7 Em7 A7 D7

A7 C#Ø7 F#7b9 Bm7

A7 D7 A7 Em7 A7 D7 D#º A^ Bm7 C#m7 Cm7 Bm7

Blues in All Keys - Play Along


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HOW TO PRACTICE IMPROVISATIONby JERRY COKER

Given below is an example of a schedule that may help you to organize your practicetime. This schedule is based on a seventy-five minute period (1 hr., 15 min.), but it could bechanged proportionately to fit a shorter or longer period or modified to allow time to take upinstrumental studies (long tones, dexterity exercises for the fingers, range studies, reading, etc.).

A DAILY PRACTICE SCHEDULE:Topic Sequence Minutes Spent1) A SLOW MELODY (tune) 52) SCALES AND PATTERNS 153) PATTERN APPLICATION 104) IMPROVISATION EXERCISE 55) TRANSCRIBED SOLO 156) SPECIAL DISCIPLINES 107) LEARN A TUNE 15 TOTAL 75

A new set of melodies, patterns, exercises, transcribed solos, disciplines, and tunes shouldbe taken up each week. Such a turnover in materials will help insure a steady rate of progress.Items 3 through 7 should be played with recorded accompaniment. "SPECIAL DISCIPLINES"refers to studies aimed at resolving weakness in areas such as playing fast tempos, time-feeling,use of all rhythmic levels, building intensity, or cultivating a melodic sense. The learning of atune should encompass melody, chord progression, appropriate ingredients, and familiarizationwith the most significant recordings of the tune (the listening is done at another time, however).

Be sure to check out these books by Jerry Coker:

IMPROVISING JAZZ, LISTENING TO JAZZ, PATTERNS FOR JAZZ, THE COMPLETE METHOD FOR IMPROVISATION, HOW TO PRACTICE JAZZ and HOW TO TEACH JAZZ . All of thesebooks are available from Aebersold Jazz -- see our website at http://www.jazzbooks.com

HOW TO PRACTICEby DAVID LIEBMAN

One major point to remember concerns the avoidance of attempting to accomplish toomany goals while practicing. The mind cannot easily digest more than one or two major points atthe same time and still be effective. Always be very clear as to what you are practicing a particu-lar exercise for. Example: Long tones on saxophone are for breathing and evenness of sound—no inflections, vibrato, etc. Scales are for speed and fingering difficulties, etc.

Be sure to check out these materials by David Liebman:Volume 19 "David Liebman,” Volume 26 "The Scale Syllabus," and Volume 81 “ContemporaryStandards and Originals with the David Liebman Group” --all of these are part of the AebersoldPlay-A-Long Series. Also see the Aebersold Jazz catalog for the most up-to-date listing of addi-tional materials available from David Liebman.

Copyright © 2000 Jamey Aebersold Jazz, Inc. • http://www. jazzbooks.com


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26 2

51

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& c ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

C Major

& ˙˙̇̇̇ ˙

˙̇̇̇ ˙̇̇̇ ˙

˙̇̇̇˙˙˙̇̇̇ ˙˙̇̇̇ ˙̇̇̇

Cmaj9 Dm9 Em7 Fmaj9 G913 Am9 Bø7

Imaj7 ii7 iii7 IVmaj7 V7 vi7 viiø7

Chords derived from C major scale shown with their functions (as Roman numerals) related totraditional music.

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙D Dorian

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙E Phrygian

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙F Lydian

& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

G Mixolydian

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

A Aeolian

˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

B Locrian (not useful as a tonicmode as there is no perfect fifthabove the tonic)

& ˙ ˙ ˙b ˙ ˙ ˙b ˙n ˙C Harmonic Minor

& ˙̇̇̇nb ˙̇̇̇b ˙̇̇̇nb ˙˙̇̇̇b b ˙

˙˙̇̇̇b nb

˙̇̇̇b b ˙̇̇̇b nCmmaj7 Dø7 Eb maj7#5 Fm9 G7b 13b 9 Ab maj7 B°7

iiø7 iv7 V7 VImaj7 vii°7

Chords derived from C harmonic minor scale shown with their functions (as Roman numerals)related to traditional music.

MODES RELATED TO C MAJOR:

MAJOR SCALE with RELATED MODES & CHORDS

HARMONIC MINOR SCALE with RELATED MODES & CHORDS

© 1996, Bert Ligon

SCALES for JAZZ IMPROVISATION


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& ˙ ˙ ˙b ˙ ˙ ˙n ˙n ˙C Melodic Minor

wwwwwb

Cmmaj7

Chord associated with C Melodic Minor:

& ˙b ˙ ˙ ˙ ˙ ˙ ˙ ˙b

Eb Lydian Augmented

w

w

wwn

b

Eb maj7#5Chord associated with Eb Lydian Augmented:

& ˙ ˙ ˙ ˙n ˙ ˙ ˙b ˙F Lydian Dominant

wwwwwwb

F9#11Chord associated with F Lydian Dominant:

& ˙ ˙ ˙ ˙ ˙ ˙b ˙ ˙

G mixolydian b6

wwwwwwb n

G9b 13Chord associated with G mixolydian b6:

& ˙ ˙n ˙ ˙ ˙b ˙ ˙ ˙

A Locrian #2

wwwwwnb

Aø7#2Chord associated with A Locrian #2:

& ˙ ˙ ˙ ˙b ˙ ˙ ˙ ˙

B Superlocrian (A.K.A. diminished whole tone,altered scale) w

wwwwwwb

B7alt.

Chord associated with B Superlocrian:

MELODIC MINOR SCALE with RELATED MODES & CHORDS

Scale Catalog, p. 2


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& ˙ ˙ ˙ ˙ ˙ ˙b ˙n ˙

C Harmonic Major (Major with flat 6)

& ˙ ˙b ˙ ˙ ˙ ˙ ˙ ˙5th mode of C major flat 6:

wwwwwb

G13b 9

Chord associated with 5th modeof C major flat 6:

& ˙ ˙ ˙ ˙b ˙ ˙ ˙ ˙

3rd mode of C major flat 6:

w

wwww

a

E7

#9b 13Chord associated with 3rd modeof C major flat 6:

& ˙ ˙b ˙b ˙n ˙# ˙ ˙ ˙b C Half/Whole Diminished

˙˙̇̇̇b b ˙˙

˙˙̇̇#b b

C7b 9 C13b 9#11

Chords associated withhalf/whole diminished scale:

& ˙ ˙ ˙b ˙ ˙# ˙# ˙ ˙C Whole/Half Diminished

˙̇̇̇∫ b b ˙̇̇̇n ˙˙̇̇̇∫

C°7 C°maj7

Chords associated withwhole/half diminished scale:

& ˙ ˙ ˙ ˙b ˙b ˙b ˙C Whole Tone

wwwwwb #

C9#5Chord associated with wholetone scale:

LESS TRADITIONAL SCALES

Scale Catalog, p. 3


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Improvisación al jazz.pdf

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