| LearnJazzPiano.com archives: 7th of Db7 | |
| hag -- 08/01/2007, 09:28:28 -- #36151 | |
| I don't know the 7th of Db7 off the top of my head, and my hand doesn't know it either. I'm most familiar with G and C. How do I get familiar with all the others? Do you recommend writing out the scales? Playing a song in all twelve keys? Thanks | |
| CynBad -- 08/01/2007, 09:58:12 -- #36151 | |
| The 7th of a Db7 chord is Cb. Yes, you need to know your scale tones in all 12 keys. Not necessarily write them out, but know them. Know your key signatures, and know what the scales look like on the keyboard. | |
| CynBad -- 08/01/2007, 10:00:08 -- #36151 | |
| Or, you can think of intervals in the chord. The 7th of a Dominant 7th chord is always a whole step down from the root. | |
| hag -- 08/01/2007, 10:14:58 -- #36151 | |
| Ooh intervals that helps alot. So I need to practice in order to get the tones down in all 12 or all 36 or all 1,3,5,7,9,11,13 in all 36. What should I practice doing in order to get it. | |
| CynBad -- 08/01/2007, 11:18:00 -- #36151 | |
| Well, the first and most important thing here is to learn all your major scales in all 12 keys. Then learn how all the modes and different chord qualities are built on each tone of the major scale. Practice 7th-chord arpeggios also (Maj, min, dom, half-dim, dim). Of course, when you're talking about a dominant 7th chord, like Db7, it's actually built on the 5th tone of the major scale (and the corresponding scale/mode is the mixolydian). So, the Db7 chord is actually built on the 5th tone of the Gb Major Scale. If you want to think in intervals: A Maj7 chord is a major triad with a major 7th... A min7 chord is a minor triad with a minor 7th on top... A (dom)7 chord is a major triad with a minor 7th... | |
| Jazz+ -- 08/01/2007, 14:18:31 -- #36151 | |
| We are talking the ABCs here. Get to work. | |
| smg -- 08/01/2007, 15:28:40 -- #36151 | |
| Online is a good place to familiarize/expose yourself to what you want to get together,along with spending some time with another player who already knows things....there are a lot of jazz-related theory sites that are as complete as anything else out there to check out before buying books etc...this site is in itself a complete resource for learning and if you check out all the rooms,etc you'll see everything you could possibly want to know about...the main thing is to have a practical approach to learning from the beginning;i.e. learning about things in a few of the most-used keys rather than all keys might be better at your level....this is one of the best free downloads out there and going through it would be a good place to start....http://www.thereelscore.com/PortfolioStuff/PDFFiles/QuickJazzTheoryRefFinal.pdf | |
| smg -- 08/01/2007, 15:33:10 -- #36151 | |
| also check this site out- http://www.good-ear.com/servlet/EarTrainer?chap=5 spending some time with the "jazz chords" section is recommended.... | |
| Jazz+ -- 08/01/2007, 15:42:58 -- #36151 | |
| That thereelscor.com method is very guitar oriented. It doesn't cover the important and easy shell left hand voicings or any of the other piano voicng systems. It gets into a lot of obscure things too. I would suggest Randy's "Metaphore's For The Musician" book if somebody could get only one book. | |
| hag -- 08/02/2007, 10:03:13 -- #36151 | |
| I can play the major, dorian (min), and mixolydian (7) scales in all 12 keys. Out of the context of scale practice when I'm improvising over a lead sheet I can't find the 3,5,7,9,11,13 in time to use them on most keys except for C,F,D,G. Finding the right chord when comping is getting a little easier, though I can't do anything creative with complicated chords like F#+, Bdim because I don't know them inside and out. When doing the scale it's obvious to my ear what the next note ought to be, but improvising and comping are completely different. I'm getting to work, but I want to do the right work. I worked through II V I exercizes in my now spiral bound Solo Jazz Piano book from Neil Olmstead. I also transcribed the head of Dolphin Street off the CD. | |
| DrJazz -- 08/02/2007, 16:43:15 -- #36151 | |
| Of course you need to know major scales in all twelve keys, they are the building blocks of music. From the scales, chords are derived by playing alternate notes (up in thirds). However, when first starting to improvise over a new tune, I would learn the ARPEGGIOS of the chords first - just R, 3, 5, and 7, up and down (one or two octaves), for every chord in the tune. That's a much more important and basic way of improvising. If you did this you would have no trouble finding the seventh, or any other note, of any of the chords. The current emphasis on scales as a first port of call was popularised by jazz educators in relatively recent times, and isn't the only way of going about things, or necessarily the best. Of course scales have their place, but back in the day, early improvisers such as the great Louis Armstrong played the NOTES OF THE CHORDS... This still holds true when playing over bebop and other more modern styles. When you know your chords really well, you can go back and fill in the notes IN BETWEEN the R, 3, 5,and 7, and then you have a scale... | |
| savage -- 08/03/2007, 08:05:33 -- #36151 | |
| There is a nice excercise in the aebersold books for practising both the scales and the arpeggios. First play the scale ascending up to the ninth and then play the arpeggio descending. Then play the arpeggio ascending up to the ninth and play the scale descending. For example F dorian: asc. desc. F G Ab Bb C D Eb F G Eb C Ab F asc. desc. F Ab C Eb G F Eb D C Bb Ab G F | |
| Copyright © 2005 by Scot Ranney. All rights reserved. | |
| Click Here for more information about performances and clinics. Click Here to sign up for Scot's music announcements. | |