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JAZZ
THEORY (BeBop Drills)
The Use of Tensions 3
Many
different melodic styles of jazz improvising can be created using chord
tones and tensions as a starting point. Here
we will explore a few ideas designed to put our new tools to work. We will use
Cmaj7 (c-e-g-b-d-f#-a) for all examples.
The
first concept we will call overlay. Bi-chords
and poly-chords are one application of this technique commonly used in jazz. We
have already used a 1-3-5-7 [1-&-2-&] pattern to express the sound of
the chord tones. This same ascending eighth-note pattern can be built from each
tone, exposing other hidden chord structures, as follows: e-g-b-d [Em7],
g-b-d-f# [Gmaj7], b-d-f#-a [Bm7], d-f#-a-c [D7], f#-a-c-e
[F#-7b5], and a-c-e-g [Am7]. Each of these can be taken through the cycle
of fifths [C-F-Bb-Eb-Ab-Db-F#-B-E-A-D-G], and string and keyboard players can
sing the roots to better hear the relationships formed by the variations (for
all examples above C would be the root). Triads can also be drilled using a
1-&-2-rest rhythm. The resulting triads for Cmaj7 are as follows: C, Em, G,
Bm, D, F#o, and Am.
Many
modern styles use ideas developed from chord scales.
These are created by combining chord tones and tensions together in a scale, as
in c-d-e-f#-g-a-b (1-9-3-#11-5-13-7). All of these tones can be used on a Cmaj7
chord at any time in any way, greatly expanding the possibilities for
improvisation. Three sounds which do this are tetratonics,
pentatonics and
hexatonics [
more
on hexatonics
].
Tetratonics
group any four pitches together in any combination. These can be mixed and
matched in infinite variations. A good way to practice them is to sequence a
group through the chord scale. The group c-d-g-a would sequence as follows:
c-d-g-a, d-e-a-b, e-f#-b-c, f#-g-c-d, g-a-d-e,
a-b-e-f#, and b-c-f#-g. Try your own ideas for groups, and woodshed
(practice) the ones you like. Three major pentatonic
scales can be created with the chord scale. They are C major pentatonic
[c-d-e-g-a], G major pentatonic [g-a-b-d-e], and D major pentatonic
[d-e-f#-a-b]. If you are already comfortable with pentatonic scales, these are
fun and easy to apply. Hexatonic scales are
created by combining two mutually exclusive triads. C and D [c-d-e-f#-g-a] are
used most often to represent Cmaj7. Other possibilities include D and Em
[d-e-f#-g-a-b], Em and F#o [e-f#-g-a-b-c], F#o and G [f#-g-a-b-c-d], G and Am
[g-a-b-c-d-e], Am and Bm [a-b-c-d-e-f#], and Bm and C [b-c-d-e-f#-g].
Remember
these ideas only scratch the surface. Experimentation will yield many more
possibilities. As always, use your ears to find the sounds you like, and happy
drilling! [top]
- Frank Singer ©2002
I
originally learned these concepts from Charlie Banacos, private instructor.
Legbones from
Cat's A Bear's
Tito: In Search of a Revolution is
constructed using hexatonics for the melody and chording.
Change from
Cat's A Bear's Tito In Wonderland is
constructed using hexatonics for the melody and chording.
Much of
Blue Tito from
Cat's A Bear's
Tito: In Search of a Revolution is
constructed using hexatonics for the melody and chording. |
BACK
TO THEORY DEN CONTENTS
The
Language of BeBop
The
Use of Tensions 1
The
Use of Tensions 2
The
Use of Tensions 3
The Jazz
Sub-Dominant Chord - II-7
The Jazz Dominant Chord - V7
The II-7 V7 Progression - II V series
The Key of the Moment
"Watch out for
those chromatics!"
Ear Training
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eCUTS
