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Herbie Hancock CD: Head Hunters Chameleon- Need I say more?
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Newest blog is by: Griser • Rooms: show list
lucky room:
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Scot's Trio: Chico's Paradise
Help Support LJP Today! Scot Ranney's Jazz Piano Notebook, Volume 1
Tim Richards: Improvising Blues Piano
Thesaurus Of Scales And Melodic Patterns by Nicolas Slonimsky The Latin Real Book Maybeck Recital Hall Series: George Cables: definintion of tasty Maybeck Recital Hall Series: Bill Mays: listening to this is like having a lesson. 101 Montunos Afro-Caribbean instruction
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b7 = min 7th interval above root #7 = Maj 7th interval above root Minor quality voicings: 1 11 b7 (m11) 9 5 1 (m9) 11 b7 b3 (m11) 5 8 11 (m11) 6 9 5 (m13) dominant 7 quality voicings: 9 5 1 (9th) 3 6 9 (13th) 6 9 5 (13th) Major quality voicings: 9 5 1 (Maj9) 3 6 9 (Maj6/9) 6 9 5 (Maj6/9) #7 3 6 (Maj13no11) * * * * * * ii-V7-I progressions: C#min 1 11 b7 ( C# F# B ) descend F#7 9 5 1 ( G# C# F# ) ascend Bmaj 9 5 1 ( C# F# B ) C#min 1 11 b7 ( C# F# B ) descend F#7 9 5 1 ( G# C# F# ) descend Bmaj 3 6 9 ( D# G# C# ) C#min 1 11 b7 ( C# F# B ) descend F#7 9 5 1 ( G# C# F# ) same Bmaj 6 9 5 ( G# C# F# ) C#min 1 11 b7 ( C# F# B ) descend F#7 9 5 1 ( G# C# F# ) ascend Bmaj #7 3 6 ( A# D# G# ) * * * * * * C#min 1 11 b7 ( C# F# B ) descend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 9 5 1 ( C# F# B ) C#min 1 11 b7 ( C# F# B ) descend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 3 6 9 ( D# G# C# ) C#min 1 11 b7 ( C# F# B ) descend F#7 3 6 9 ( A# D# G# ) descend Bmaj 6 9 5 ( G# C# F# ) C#min 1 11 b7 ( C# F# B ) descend F#7 3 6 9 ( A# D# G# ) same Bmaj #7 3 6 ( A# D# G# ) * * * * * * C#min 1 11 b7 ( C# F# B ) ascend F#7 6 9 5 ( D# G# C# ) descend Bmaj 9 5 1 ( C# F# B ) C#min 1 11 b7 ( C# F# B ) ascend F#7 6 9 5 ( D# G# C# ) same Bmaj 3 6 9 ( D# G# C# ) C#min 1 11 b7 ( C# F# B ) ascend F#7 6 9 5 ( D# G# C# ) ascend Bmaj 6 9 5 ( G# C# F# ) C#min 1 11 b7 ( C# F# B ) ascend F#7 6 9 5 ( D# G# C# ) descend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * * * * * * C#min 9 5 1 ( D# G# C# ) ascend F#7 9 5 1 ( G# C# F# ) ascend Bmaj 9 5 1 ( C# F# B ) C#min 9 5 1 ( D# G# C# ) ascend F#7 9 5 1 ( G# C# F# ) descend Bmaj 3 6 9 ( D# G# C# ) C#min 9 5 1 ( D# G# C# ) ascend F#7 9 5 1 ( G# C# F# ) same Bmaj 6 9 5 ( G# C# F# ) C#min 9 5 1 ( D# G# C# ) ascend F#7 9 5 1 ( G# C# F# ) ascend Bmaj #7 3 6 ( A# D# G# ) * * * * * * C#min 9 5 1 ( D# G# C# ) descend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 9 5 1 ( C# F# B ) C#min 9 5 1 ( D# G# C# ) descend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 3 6 9 ( D# G# C# ) C#min 9 5 1 ( D# G# C# ) descend F#7 3 6 9 ( A# D# G# ) descend Bmaj 6 9 5 ( G# C# F# ) C#min 9 5 1 ( D# G# C# ) descend F#7 3 6 9 ( A# D# G# ) same Bmaj #7 3 6 ( A# D# G# ) * * * * * * C#min 9 5 1 ( D# G# C# ) same F#7 6 9 5 ( D# G# C# ) descend Bmaj 9 5 1 ( C# F# B ) C#min 9 5 1 ( D# G# C# ) same F#7 6 9 5 ( D# G# C# ) same Bmaj 3 6 9 ( D# G# C# ) C#min 9 5 1 ( D# G# C# ) same F#7 6 9 5 ( D# G# C# ) ascend Bmaj 6 9 5 ( G# C# F# ) C#min 9 5 1 ( D# G# C# ) same F#7 6 9 5 ( D# G# C# ) descend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * * * * * * C#m 11 b7 b3 ( F# B E ) ascend F#7 9 5 1 ( G# C# F# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 11 b7 b3 ( F# B E ) ascend F#7 9 5 1 ( G# C# F# ) descend Bmaj 3 6 9 ( D# G# C# ) C#m 11 b7 b3 ( F# B E ) ascend F#7 9 5 1 ( G# C# F# ) same Bmaj 6 9 5 ( G# C# F# ) C#m 11 b7 b3 ( F# B E ) ascend F#7 9 5 1 ( G# C# F# ) ascend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 11 b7 b3 ( F# B E ) ascend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 11 b7 b3 ( F# B E ) ascend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 3 6 9 ( D# G# C# ) C#m 11 b7 b3 ( F# B E ) ascend F#7 3 6 9 ( A# D# G# ) descend Bmaj 6 9 5 ( G# C# F# ) C#m 11 b7 b3 ( F# B E ) ascend F#7 3 6 9 ( A# D# G# ) same Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 11 b7 b3 ( F# B E ) descend F#7 6 9 5 ( D# G# C# ) descend Bmaj 9 5 1 ( C# F# B ) C#m 11 b7 b3 ( F# B E ) descend F#7 6 9 5 ( D# G# C# ) same Bmaj 3 6 9 ( D# G# C# ) C#m 11 b7 b3 ( F# B E ) descend F#7 6 9 5 ( D# G# C# ) ascend Bmaj 6 9 5 ( G# C# F# ) C#m 11 b7 b3 ( F# B E ) descend F#7 6 9 5 ( D# G# C# ) descend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 5 8 11 ( G# C# F# ) same F#7 9 5 1 ( G# C# F# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 5 8 11 ( G# C# F# ) same F#7 9 5 1 ( G# C# F# ) descend Bmaj 3 6 9 ( D# G# C# ) C#m 5 8 11 ( G# C# F# ) same F#7 9 5 1 ( G# C# F# ) same Bmaj 6 9 5 ( G# C# F# ) C#m 5 8 11 ( G# C# F# ) same F#7 9 5 1 ( G# C# F# ) ascend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 5 8 11 ( G# C# F# ) ascend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 5 8 11 ( G# C# F# ) ascend F#7 3 6 9 ( A# D# G# ) ascend Bmaj 3 6 9 ( D# G# C# ) C#m 5 8 11 ( G# C# F# ) ascend F#7 3 6 9 ( A# D# G# ) descend Bmaj 6 9 5 ( G# C# F# ) C#m 5 8 11 ( G# C# F# ) ascend F#7 3 6 9 ( A# D# G# ) same Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 5 8 11 ( G# C# F# ) descend F#7 6 9 5 ( D# G# C# ) descend Bmaj 9 5 1 ( C# F# B ) C#m 5 8 11 ( G# C# F# ) descend F#7 6 9 5 ( D# G# C# ) same Bmaj 3 6 9 ( D# G# C# ) C#m 5 8 11 ( G# C# F# ) descend F#7 6 9 5 ( D# G# C# ) ascend Bmaj 6 9 5 ( G# C# F# ) C#m 5 8 11 ( G# C# F# ) descend F#7 6 9 5 ( D# G# C# ) descend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * * * * * * * * C#m 6 9 5 ( A# D# G# ) descend F#7 9 5 1 ( G# D# F# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 6 9 5 ( A# D# G# ) descend F#7 9 5 1 ( G# D# F# ) descend Bmaj 3 6 9 ( D# G# C# ) C#m 6 9 5 ( A# D# G# ) descend F#7 9 5 1 ( G# D# F# ) same Bmaj 6 9 5 ( G# C# F# ) C#m 6 9 5 ( A# D# G# ) descend F#7 9 5 1 ( G# D# F# ) ascend Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 6 9 5 ( A# D# G# ) same F#7 3 6 9 ( A# D# G# ) ascend Bmaj 9 5 1 ( C# F# B ) C#m 6 9 5 ( A# D# G# ) same F#7 3 6 9 ( A# D# G# ) ascend Bmaj 3 6 9 ( D# G# C# ) C#m 6 9 5 ( A# D# G# ) same F#7 3 6 9 ( A# D# G# ) descend Bmaj 6 9 5 ( G# C# F# ) C#m 6 9 5 ( A# D# G# ) same F#7 3 6 9 ( A# D# G# ) same Bmaj #7 3 6 ( A# D# G# ) * * * * * * * C#m 6 9 5 ( A# D# G# ) ascend F#7 6 9 5 ( D# G# C# ) descend Bmaj 9 5 1 ( C# F# B ) C#m 6 9 5 ( A# D# G# ) ascend F#7 6 9 5 ( D# G# C# ) same Bmaj 3 6 9 ( D# G# C# ) C#m 6 9 5 ( A# D# G# ) ascend F#7 6 9 5 ( D# G# C# ) ascend Bmaj 6 9 5 ( G# C# F# ) C#m 6 9 5 ( A# D# G# ) ascend F#7 6 9 5 ( D# G# C# ) descend Bmaj #7 3 6 ( A# D# G# ) Some melodic ideas for quartals! 1. Simple arpeggiation can sound terrific (especially when each chord only gets two beats) 2. Play the following very
rapidly in succession over Cm7 3. Another way to use quartals
in a melodic sense is to utilize the "mega-scale" concept.
But HEY! Do you notice what I notice? If you rearrange those notes, it's the pentatonic scale! ( C D E G A ). And as all musicians know, YOU CAN USE THE PENTATONIC SCALE OVER ALMOST EVERYTHING! * * * * * * * * * * * * * * Here are some great comping
ideas for quartals (mostly for keyboard): 2. Rootless chords in one
hand - quartals in the other. Mix and match. 3. Subsitute quartals in the
left hand instead of rootless chords. 4. If you don't have a bass
player, play your standard walking bass in the left hand
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The Only Bellingham Jazz Jam Session: Tuesdays at Boundary Bay Brewery |
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