I really like this style of phrasing, take some great examples like McCoy Tyner, and a lot of the ‘hard bop’ jazz cats. The basic idea is this: take a scale, in this example I will use a C major scale.

Now  play all the diatonic fourths contained in C major:

In the video I am playing on a Dm (Dorian) vamp, but you can use this phrasing technique on any scale, mode…have fun.

The Chords (from the fake book-as far as I know it is not copyrighted material so I am posting the original):

One good ‘pattern’ to start familiarising with the progression in playing 1235 for every chord (meaning the 1st,2nd,3nd and 5th of every chord). For the original key it would be B,C#,D#,F#(Bmaj7) then D,E,F#,A (D7), G,A,B,D (G)and so on…

It’s all about getting used to keep your brain engaged at any time. A great exercise!

In this video I show how to use the Superlocrian mode (nothing more than the 7th mode of a minor melodic scale) to improvise over altered chords. On C7 the choice would be C Superlocrian C, Db,Eb,E, F#,G#,Bb (also known as Db melodic minor starting from C). Listen to a few examples of resolution from C7(alt) to F major and to F minor in the second part of the video.

If we take a C half step/whole step scale C, Db, Eb, E, F#, G, A, Bb we see that four triads can be found within the notes of this scale: C major, Ebmajor, F#major, A major. In the video I show you how to add this new ‘flavour’ to your phrases.

You can get quite a modern sound by alternating and combining major and minor triads. In the video I use variuos combinations like C minor and D major that touch different degrees of the key of the moment.  Try different combinations and write down those that sound more interesting to your ears. You can find a pdf file with triads in different positions and inversions free to download HERE

Very simple concept widely used in jazz ( but good for other styles). Like shown in the video, G7 and Db7 are two chords a tritone away (tritone=6 semitones) that share the same 3rd and 7th.

G7= G B D F

Db=Db F Ab B

as you see the notes B and F are common to the two chords. This means that I can also substitute the IIm chord that usually comes before it (as in a II-V-I)

I can play both

Dm7 G7 Cmaj7

Abm7 Db7 Cmaj7

This is where things get quite interesting. In this video I will show you how to use material from other solos you might already know, or you want to learn. All this will build your vocabulary of musical ideas/ knowledge of styles if you do it the right way:

1. Learn a phrase (=musical idea from a solo, in the video I use the very famous pickup from ‘Another brick in the wall Pt2′ by Pink Floyd as played by David Gilmour on ‘The Wall’)

2. Analyze the phrase…how is it built? from what scale? What Key? In the example the phrase is based around the D minor pentatonic.

3. Learn it in every key so that it becomes available to you in every key.

4. Use it adapting it to the song you are playing on. In this case I had to transpose it to G minor pentatonic, using it to give a ‘bluesy’ sound to the track. I also used it in E minor pentatonic as E minor is the relative minor of G major, which means that this phrase can also be used as G major pentatonic. Furthermore I had to adapt its rhythm as the original is in 4/4 and the track is in 3/4.

Again, the backing track can be downloaded >HERE<

This is a scale I know as ‘Jog scale’. I am sure even though you might not know it by name, you have heard its sound before, as it is featured in a lot of Beatles tunes, and also a favorite of guitarist Eric Johnson. It has an Indian flavor to my ears…just watch the video and you’ll understand what I mean. In the PDF file below you’ll find the 5 inversions/modes and relative fingerings in the key of G. It sounds best over G7 (or G7sus4), Fmaj7#11, and B7#9, but feel free to experiment…

Download: Jog Scale PDF

Good Luck.

This is a another classic chart to understand how modes are built by comparing them to the major scale staring from the same note…you’ll see right away how D Dorian is a minor mode and how it differs from D major scale.

Printable PDF: Modes Pt3

C Ionian = C major by constitution and it is a Major mode.

D Dorian

As you can see the difference here is that the Dorian mode has the minor 3^rd (F natural instead of F#) and the minor 7^th (C natural).  The Dorian Mode is a Minor mode

E Phrygian

Here not only we can see the minor 3^rd and the minor 7^th but also the minor 6^th and 2^nd . This last note gives the characteristic sound to this mode. This is a minor mode.

F Lydian

A major mode with the raised 4^th (Bb raised to B natural). Quite an interesting sound, used a lot for its dream like qualities.

G Mixolydian

This is called a major dominant mode, the characteristic note is the minor 7^th on a major scale.

A Aeolian

This mode is also known as Relative minor or Natural minor. Has a minor 3^rd, minor 6^th and 7th

B Locrian

Maybe not as popular as the other modes, but used quite a lot in many jazz standards and similar tunes this is a minor mode with minor 2^nd , 3^rd, 6^th and 7^th. Also the characteristic note is the diminished 5^th, that makes this mode one of kind among those from the major scale.

Expand your vocabulary Pt2

After I have learnt my phrase in every key I will now use it in context. Here I am using it on ‘autumn leaves’ every time there is a 2-5-1. of course I use it in the appropriate key, and I fill the rest of the tune with material stylistically similar. Here you’ll find the two files you’ll need to do this exercise:

Printable PDF: 2-5-1 Example Phrase Exercise

Printable PDF: Chords for Autumn Leaves