Hey Jazz Guy, May 2011

May 1, 2011
<p><em><img height="301" width="154" style="float: left; margin: 5px;" title="gp0511_less_hjg1_nr" src="http://www.guitarplayer.com/uploadedImages/guitarplayer/gp0511_less_hjg1_nr.jpg" alt="gp0511_less_hjg1_nr" />Hey Jazz Guy,<br /> I&rsquo;ve got all my scales down pretty good, but I&rsquo;m still having trouble making all the changes. Can you give me some advice on how to put it all together? &mdash;<strong>F</strong>ragmented in <strong>F</strong>resno</em></p> <p><a style="cursor: pointer;" onclick="javascript:try{window.open('http://www.guitarplayer.com/uploadedImages/guitarplayer/GP5.11Hertzog.Ex1%2C2.jpg', 'MyImage', 'resizable=yes, scrollbars=yes, width=790, height=580')}catch(e){};return false;" onkeypress="this.onclick();" title="http://www.guitarplayer.com/uploadedImages/guitarplayer/GP5.11Hertzog.Ex1,2.jpg"><img style="width: 125px; height: 30px; float: left; margin: 5px; border-width: 0px; border-style: solid;" title="http://www.guitarplayer.com/uploadedImages/guitarplayer/GP5.11Hertzog.Ex1,2.jpg" src="http://www.guitarplayer.com/uploadedImages/guitarplayer/thumb_GP5.11Hertzog.Ex1,2.jpg" alt="http://www.guitarplayer.com/uploadedImages/guitarplayer/GP5.11Hertzog.Ex1,2.jpg" /></a>Dear Fragmented,<br /> One of the most difficult parts of improvising is putting it all together: turning scales into great sounding lines. However, there are some concepts that work every time. In the following examples, we examine the first eight bars of the classic jazz standard &ldquo;Stella by Starlight.&rdquo; In <strong>Ex. 1</strong>, we start with the 3rd of the chord, and play an <em>E </em>Locrian scale with a natural 9 (a derivative of <em>G </em>melodic minor). Every strong beat is a chord tone. For <em>A7b9</em>, we move to the 3rd of the chord by a halfstep and play the altered scale. On <em>Cmin7 </em>in the 3rd bar [<strong>Ex. 2</strong>], playing an <em>Eb </em>major scale line gives a diatonic sound. When the chord changes to <em>F7</em>, we again target the 3rd. <strong>Ex. 3</strong> uses a sequence, involving the 3rds of <em>Fm7 </em>and <em>Bb7</em>. In the final example, <strong>Ex. 4</strong>, we are using a <em>Bb </em>major pentatonic on the <em>Ebmaj7 </em>chord, bringing <a style="cursor: pointer;" title="http://www.guitarplayer.com/uploadedImages/guitarplayer/GP5.11Hertzog.Ex3,4.jpg" onkeypress="this.onclick();" onclick="javascript:try{window.open('http://www.guitarplayer.com/uploadedImages/guitarplayer/GP5.11Hertzog.Ex3%2C4.jpg', 'MyImage', 'resizable=yes, scrollbars=yes, width=790, height=580')}catch(e){};return false;"><img alt="http://www.guitarplayer.com/uploadedImages/guitarplayer/GP5.11Hertzog.Ex3,4.jpg" src="http://www.guitarplayer.com/uploadedImages/guitarplayer/thumb_GP5.11Hertzog.Ex3,4.jpg" title="http://www.guitarplayer.com/uploadedImages/guitarplayer/GP5.11Hertzog.Ex3,4.jpg" style="width: 125px; height: 29px; float: left; margin: 5px; border-width: 0px; border-style: solid;" /></a>out the 3rd of the chord by repeating the note. The line finishes with another melodic minor mode, the Lydian <em>b7 </em>scale in <em>Ab</em>, emphasizing the <em>b7</em>. Building your solos around the chord tones, especially 3rds and 7ths, and connecting those tones smoothly, is a key concept in creating lines. Sequences and repetition serve to highlight important notes. These techniques will go a long way toward helping you connect all those scales you&rsquo;ve been practicing. In this lesson, we focused on inside sounds. Next time we will put it all together in an outside way, and then formerly fragmented will become ferociously fantastic.</p> <p><em>Jake Hertzog is the jazz ambassador to the non-jazz world. Send your questions to <a href="mailto:guitplyr@musicplayer.com">guitplyr@musicplayer.com</a>. Jake&rsquo;s latest release is </em>Patterns <em>[Buckyball].</em></p>
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