Jazz Improvisation

The student should write out this example, transposing it into all major keys. The resultant types of chords are four in number, as follows: the major seventh chord (maj 7) consisting, always counting from the bottom pitch, or “root”, of a major third, minor third, major third; the minor seventh (−7) made up of minor third, major third, minor third; the dominant seventh (written simply 7) consisting of major third, minor third, minor third; and the minor seventh with flatted fifth (−7♭5) which some musicians call a half diminished chord (Ø). One should note that the types of four pitch chords will always occupy similar numerical positions in each key (I=major seventh (maj 7th) II=minor 7 (−7), etc.) (Example 2).

Interval exercise

Now that we understand how the basic four pitch chords are formed, we can see how important a working knowledge of intervals is. I have devised an exercise that should be helpful in this area (Example 3).

Tonality

A

C

F

B♭

E♭

A♭

D♭

G♭

B

E

A

D

G

Pitch numbers

B

1

♯1

♭2

2

♯2

♭3

3

4

♯4

♭5

5

♯5

♭6

6

♭7

7

(1)

The student should place his thumb on any number from group B (pitch numbers). Then place a finger on a letter from group A (tonality). The idea is to determine the correct pitch as quickly as possible. For example, if the thumb is placed on the number six, and the finger on “C” in the group above, the correct pitch would be “A” since it is the sixth pitch in the key of “C”. If the thumb is placed on the number four and the finger on “F”, the correct pitch would be “B♭” since it is the fourth interval up from “F”. One can also reverse the process. For example, place the finger on “B♭”, and the thumb on number flat seven (♭7) from the group below. The correct pitch would be “A♭”. This exercise should be practiced until there is no hesitation in recognizing any interval from any of the twelve keys listed in the group.

Chord-scale relationship

There are no chords, either simple or complex, which are not formed from some type of scale. Consequently, the ability to look at any type of chord and know which scale corresponds to it is of enormous importance.

I have spoken of the four different types of basic chords found in the major scale, and the positions they occupy therein. One should memorize the basic chord positions as a first step in the knowledge of harmony needed for improvisation (Chart).

C major 7	(1st chord of C major scale; 4th chord of G major scale)
F major 7	(1st chord of F major scale; 4th chord of C major scale)
B♭ major 7	(1st chord of B♭ major scale; 4th chord of F major scale)
E♭ major 7	(1st chord of E♭ major scale; 4th chord of B♭ major scale)
A♭ major 7	(1st chord of A♭ major scale; 4th chord of E♭ major scale)
D♭ major 7	(1st chord of D♭ major scale; 4th chord of A♭ major scale)
G♭ major 7	(1st chord of G♭ major scale; 4th chord of D♭ major scale)
B major 7	(1st chord of B major scale; 4th chord of G♭ major scale)
E major 7	(1st chord of E major scale; 4th chord of B major scale)
A major 7	(1st chord of A major scale; 4th chord of E major scale)
D major 7	(1st chord of D major scale; 4th chord of A major scale)
G major 7	(1st chord of G major scale; 4th chord of D major scale)

What the above means is that when you see a major seventh chord in any piece of music you have a choice of two correct major scales from which to create your improvised melodies. I have included two examples by two well-known Jazz performers, Art Farmer and Phil Woods, which illustrate how this works (Example 4). Farmer treats the D♭ maj 7 as the IV chord in “A♭”. Woods uses notes that come from both the “G” and “D” major scales over the G maj 7th.

At this point, some of this must appear to be slightly abstract, but things will hopefully become clearer as the series develops. Who knows? Maybe it will become more confusing! It is extremely difficult for me to put in writing a system which relies so much on the interaction between the student and the teacher, but I’m going to try my best!

(to be continued)