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Mini Lesson Jazz Improvisation

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Mini Lesson Jazz Improvisation Mini Lesson Jazz Improvisation The 10 Scales You Need to Know for Jazz Improvisation by Gary Burton The following is excerpted from the Berklee Online course Gary Burton: Jazz Improvisation. n spoken language, we learn from experience, talking and listening to Iothers. We also learn from studying and analyzing language in school. Over time, one becomes fluent in a language and no longer has to consciously think about Gary Burton the mechanics while speaking. The same Gary Burton is a vibraphone pioneer process of assimilation takes place when whose four-mallet technique learning to improvise. revolutionized jazz. He’s had a long career as a performer, teacher, improviser, recording artist, and has To become fluent in the language of been entwined with Berklee since improvisation, you should become he was a student in the early 1960s. familiar with the most commonly used Burton has played with Chick Corea, Chet Atkins, Stan Getz, B.B. King, scales. As it turns out, there are 10 scales Hank Garland, Quincy Jones, Arif that cover 95 percent of all playing Mardin, Pat Metheny, and many more. situations. The goal is to be able to He has released 66 albums under his name, been nominated for more than identify, memorize, and practice these a dozen Grammys and won seven. As 10 scales in all 12 keys so you can recall executive vice president of Berklee them immediately. Once you become College of Music at the turn of the intimately familiar with these scales, century, he was instrumental in the formation of Berklee Online. you become fluent in improvisation. 1 IDENTIFY Lydian, and the fifth note (G) results in the Mixolydian. Beginning the scale with Chord Scales the sixth note (A) is the Aeolian mode, The chord scales make up the and finally with the seventh note (B), we improviser’s vocabulary. These 10 scales get the Locrian. The handy chart below are used in nearly all the harmonies you should help you visualize these modes: will encounter in typical show tunes, jazz compositions, pop songs, and • Ionian: Starts on the first note - C more. They include: the seven modes, • Dorian: Starts on the second note - D the Lydian ♭7, the altered scale, and the • Phrygian: Starts on the third note - E symmetrical diminished scale. • Lydian: Starts on the fourth note - F • Mixolydian: Starts on the fifth note - G The Seven Modes Derived • Aeolian: Starts on the sixth note - A from the Diatonic Scale • Locrian: Starts on the seventh note - B We start by considering the modes: seven scales derived from the diatonic Bright or Dark? scale. You may have already learned It is more logical to think of the modes in about the modes if you have studied order from bright to dark. Notice which traditional harmony. Simply put, if you modes are major or minor and the one start with the diatonic scale, say the C mode that is dominant 7th in nature. It’s scale, that’s the Ionian mode. Using the important for you as an improviser to same notes starting on the second tone know the sound of the scale when you (D), it’s the Dorian. Starting on the third hear it or see it, and the type of harmonic note (E) it’s the Phrygian mode. Starting coloration suggested by the mode. on the fourth note (F) gives us the The Seven Modes in order from Brightest to Darkest Lydian - Major Ionian - Major 2 Mixolydian - Dominant 7 Dorian - Minor Aeolian - Minor Phrygian - Minor Locrian - Minor 3 Three Dominant Alternatives In addition to the seven modes, there are three scales that are very common in popular songs and jazz. We need to add these three to arrive at the complete list of 10 scales. All three of these additional scales are employed on dominant 7 harmonies. The Lydian ♭7 The Lydian ♭7 scale is the Lydian scale with the seventh degree lowered by a half step. The Altered Scale The altered scale makes use of all the possible altered notes. In addition to the 1, 3, and ♭7, which make up the basic chord sound, adding the ♭9, ♯9, ♯11, and ♭13, gives us the complete scale. The Symmetrical Diminished Scale The symmetrical diminished scale is closely related to the altered scale. The first five notes of the scale are, in fact, the same. But instead of the ♭13 used in the altered scale, the symmetrical diminished scale uses the 5th and 6th. Of course, this scale strongly suggests the sound of the diminished chord. NOTE: The symmetrical diminished scale is also used when the diminished chord symbol occurs. In that case, instead of using the pattern half-step, whole-step, half-step, whole- step, etc., as used on a dominant 7 harmony, the pattern for a diminished chord symbol is the opposite: whole-step, half-step, whole-step, half-step, etc. 4 MEMORIZE PRACTICE We need to have an instant recall to draw The goal is to imprint the shape and upon for each of the 10 commonplace sound of the scales in our memory, and scales—in all 12 keys. That makes a total also to have a variety of ways to group of 120 scales. Becoming intimately the notes of the scale, which will come in familiar with that many scales is not as handy when we want to make melodies. daunting a task as it may seem since a We’re never going to be improvising number of the scales share the same by simply going up and down the note groupings, just in a different order. scales. We also have to learn how to comfortably start playing on a scale You need to memorize them and be able without having to start with the root to recall them instantly without having note every time. to consciously think about the individual notes that make up the scales. At the The traditional approach to practicing sight of a chord symbol, the player scales is to follow these steps: needs to have an instant response: • Start on the root note (or tonic) • A visual image of the shape and • Go up and down the scale pattern of the scale • An aural memory of the sound of However, it’s much more effective to that particular scale practice the 10 scales: With the combination of visual and • In random patterns auditory memory, the player should • Using a variety of intervals be able to start playing on the scale • With the full range of your instrument immediately without having to actively • Leaping around the range frequently think about the mechanics involved. • Varying the rhythms Practice Tip: When learning new chord scales for a tune, do not allow yourself to cheat. You’re going to want to know the scales for all the chords of a song and not have to resort to guessing or waiting to hear what someone else plays on a harmony so you can try to pick up usable notes by ear. Learning the vocabulary now will allow you to better express yourself later. 5 APPLY Answer: There are two places where you can look for the answer to this question: So far we’ve learned that improvisers must be able to quickly recall chord 1. First look at the written notes taking scales to play them fluently. This place during the harmony. As your eyes becomes important when choosing scan the notes and you look for an F or which one to use on a harmony. When an F♯, you will see very quickly if either looking at a new tune at a session, there’s note is there. About half the time, the no time to take the music home to note in question, the one about which work out scales. Essentially, there’s one, you need to decide, will be included sometimes two, questions to answer to among the written melody notes. determine the correct chord scale. 2. If you don’t see it when you look at Question: What scale should you use if the written melody, then you can find it the chord symbol is for a major chord, in the preceding chord scale. That is, the say Cmaj7? Look at the 10 common scale just before the Cmaj7. Let’s say the chord scales and you’ll see that there preceding chord is a G7. Think of the G7 are two common scales for major type chord and you will quickly notice that chords: Ionian and Lydian. it has an F♮ in it. The principle at work here is that the notes in a chord and its The difference between these two corresponding chord scale will want to versions of the chord scale is just one continue ringing into the next harmony, note, the 4th degree of the scale. In the unless something in the next harmony Ionian it’s a natural 4, in the Lydian it’s forces it to change. So in the case of a raised 4 (also called the ♯11). So as G7 to Cmaj7, the F♮ in the G7 harmony we approach the Cmaj7 chord we are wants to carry over into the C harmony, searching for either an F♮ or an F♯ indicating that the Ionian scale is the one to tell us which of the two possible that will work best on the Cmaj7 chord. chord scales we should use. 6 The purpose here is not to necessarily get every chord scale correct the first time through. The intention is to have a system you can use that will be correct most of the time, and allow you to keep up with the flow of the music in real time.
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