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Joined: 05 Mar 2005
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Location: Sweden

PostPosted: Sat Mar 05, 2005 11:41 pm    Post subject: Scales Reply with quote

I just wounder which scales that are good to use in jazz playing Very Happy
"It's All Right To Be A Redneck"
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PostPosted: Mon Mar 07, 2005 5:32 am    Post subject: Reply with quote

basically in jazz, or well for me personally, i dont think scales just what a certain note is over a chord like for instance a b9 or #5 or something like that but some scales that i see used in jazz a lot are the melodic minor, the diminshed scale, and the whole tone scale, along with the blues scale also the normal major scale is used a lot and then theres the bebop scales. sounds like a whole lot of scales to learn but the melodic minor is the same as a major scale except you flat the 3rd (crazy what one note diff can make)
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PostPosted: Mon Mar 07, 2005 5:05 pm    Post subject: Reply with quote

I have to say that I've only found two scales of unqualified usefulness to jazz improvisation - the blues scale and the chromatic scale.

Learning something about the other scales - major and minor, octatonic/diminished, whole-tone, church modes etc, is good for theory, but this kind of learning should, I think be more about the structure of thses scales and how you can build harmonies from them rather than learning patterns for improvisation based on them. I simply find scale based lines very dull.

Bascially when it comes to improvisation over jazz changes, the vanilla chord tones - that is the chord tones of the songs basic harmony - should serve as your starting point. The first step in this is to learn where all the thirds of all the chords are, and base lines around them (this is how Pat Metheny describes his own approach, and I think it is also the one that Wes Montgomery favoured, reading through transcriptions of his solos.) After the thirds, the sevenths are the next useful chord tones.

The logic of using the thirds and sevenths rather than the roots and fifths as a basis of jazz lines is that the bass will usually play roots and fifths. Emphasising the thirds and sevenths in improvised lines will sound very sweet against most jazz walking bass lines. However, if you play with a bass player who is heavy on the inversions, this can change everything! Smile
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PostPosted: Tue Mar 08, 2005 8:47 pm    Post subject: Reply with quote

I will attempt be as clear as possible, I use the pentatonic scales, the major scale, modes; mainly the ionian, dorian, phyrigian and the aeolion, and I know there's a mispell somewhere there and chromatic scales, my point is try alot and from there you play what sounds good to you and what you can make sound better. I know there's alot of difficult stuff that sometimes you feel nothing you know will fit but, if you just keep listening to it over and over and start playing scales, again listening is the key, you will come up with something that surprises you completely, that's where the passion and fun comes in...

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