I've spent a lot of time working on arpeggio's and inversions all over the neck. Using these notes, and the available tensions, as targets is a good way to "wing it" I think because it doesn't sound as linear as a scale. I use the scale notes, leading tones, and chromatic notes as filler in between. It's not a complete way, but it helps you get through a progression you may not be entirely familiar with.
On complex music such as this I will use this method and should probably utilize more often than I do. I prefer to map out the music just with the triads. Basic 1 ~ 3 ~ 5 no 7ths or color tones. After getting that nailed down I start to noodle to see where I think I may want to go. I keep it malleable though because I don't always play music with the same people and what works great with one group may not be with other group of musicians. So I try to avoid having a 'script' for a particular piece of music. There will be mistakes taking this tact but as experience sets in they become fewer. Probably not the best way to approach jazz improvisation but it's how I approach it.
1:55 it says C dorian and the notation is right but the piano plays the b6 from aeolian. Other than that, nice video. I don't really practice scales over changes. I just play the tune a lot and let experience do the thing. I'll try this method and perhaps I'll improve a little bit. Thanks
I think the best way to make scales musical (other than targeting the chord tones) is to transcribe lines and mess around with small 2-5 note fragments of those lines and apply those phrases to the scales.
@@tijgertje0003 for sure haha, there's a time and place for everything, and dissonance is a beautiful thing but just imagine doing that on a gig on Naima or something lol. There is a video of Ben Levin playing piano with gloves on and banging the keys to get more accustomed to dissonance
@@tijgertje0003 found it :) ruclips.net/video/U77fhSExv9U/видео.html im not sure if my comment will be flagged for spam though, since im sending a link
Une grand merci pour ce conseil et cette méthode...! Hard but very efficient job for me ... I’m sure !
I've spent a lot of time working on arpeggio's and inversions all over the neck. Using these notes, and the available tensions, as targets is a good way to "wing it" I think because it doesn't sound as linear as a scale. I use the scale notes, leading tones, and chromatic notes as filler in between. It's not a complete way, but it helps you get through a progression you may not be entirely familiar with.
I think you're on the right track John!
On complex music such as this I will use this method and should probably utilize more often than I do.
I prefer to map out the music just with the triads. Basic 1 ~ 3 ~ 5 no 7ths or color tones. After getting that nailed down I start to noodle to see where I think I may want to go.
I keep it malleable though because I don't always play music with the same people and what works great with one group may not be with other group of musicians.
So I try to avoid having a 'script' for a particular piece of music.
There will be mistakes taking this tact but as experience sets in they become fewer.
Probably not the best way to approach jazz improvisation but it's how I approach it.
Agree and thanks for sharing!
1:55 it says C dorian and the notation is right but the piano plays the b6 from aeolian. Other than that, nice video. I don't really practice scales over changes. I just play the tune a lot and let experience do the thing. I'll try this method and perhaps I'll improve a little bit. Thanks
I think the best way to make scales musical (other than targeting the chord tones) is to transcribe lines and mess around with small 2-5 note fragments of those lines and apply those phrases to the scales.
Agree!
To make this mapping I see difficulty in knowing how to differentiate the minor doric scale from the natural minor since the nomenclature is the same?
A: learn the melody first. I always go through vocal recordings, sometimes i even learn how to sing it.
To make it musical can’t you just ensure you’re following the beat/rhythm?
No. If you started playing random notes banging your hand on a piano, that wouldn't sound musical would it?
@@FrantzesElzaurdia it would sound funny though
@@tijgertje0003 for sure haha, there's a time and place for everything, and dissonance is a beautiful thing but just imagine doing that on a gig on Naima or something lol. There is a video of Ben Levin playing piano with gloves on and banging the keys to get more accustomed to dissonance
@@FrantzesElzaurdia hahaha yes that wouldn't be ideal. And I really need to find that Ben Levin video :p
@@tijgertje0003 found it :) ruclips.net/video/U77fhSExv9U/видео.html im not sure if my comment will be flagged for spam though, since im sending a link