Dave Frank - Inicios en la improvisación en el jazz 2: PROGRESIONES BÁSICAS

you you you hi my name is Dave Frank welcome to my 26th Internet master class I'm coming to you live tonight from Harry NYC in midtown Manhattan tonight on site to offer you in part two of my four part series beginning jazz improvisation tonight's class is called improvising over basic chord progressions this class is a follow-up to part one of the beginning jazz improv series intro to chord mapping my intention tonight is to show you how to use the basic improv concepts to improvise on the four common progressions we studied in part one of this series and then how to put our common progressions together so we can improvise over a complete jazz standard it may be useful to view this class on its own but I recommend you check out the first part of this series chord mapping if possible so you can follow the learning flow and develop a strong foundation for the process of jazz improv let's get to work in part one of this series we learned how to reduce many jazz standards to a combination of simple chord progressions and how to identify the scales that we can use to improvise over the four common sequences the four basic progressions are two minor seven five seven one major seven two minor seven five seven non resolving two minor seven flat five five seven one minor six and one major seven six seven two minor seven five seven one major so as I mentioned in part one anybody can begin improvising jazz if the right musical elements and improv concepts are used together what separates good players beginners in jazz is the conscious use of the improv concepts that we'll study tonight in order to improv over jazz tune successfully one should have some of these improv concepts guiding the improvising process as you're playing the first of these improv concepts is feeling in fours the most important thing to know and improvising jazz is that linear improvisation should be thought of as a continuous flow of Swing eighth notes grouped in groups of four with a slight accent on the first of the four eighth notes the swing eighth note flow is the wind in your sails of improv improvising in the swing eighth flow will put you in the improv zone the rhythmic flow from which improvisation will flow on its own feeling in fours is the secret doorway to a lifetime of creative music making in other master classes available on YouTube I've shown you how to use the feeling and force concept to improvise over modal vamps and the 12-bar blues tonight I'll show you how to use the feeling and force concept to begin improvising over the four basic chord progressions that form 50 to 75 percent of most jazz standards and how to combine improvising over the basic progressions to begin improvisation over a complete tube first let's improvise over the two minor seven five seven one major seven progression we know from our chord mapping class that we can use the scale of the one while improvising over the complete two five one progression in the key of C the two five one progression goes like this D minor seven four beats four beats C major seven four eight beats we'll put a metronome on the tempo sixty six to begin beginning improvising at a slow tempo is crucial to allow all the various improv wheels to turn together give yourself a chance you can do this but start at a slow tempo first listen to the metronome beat at 66 and feel the basic pulse in your body you can tap your foot along with the pulse or do a little Stevie Wonder thing with your head to get into the groove once you are feeling the pulse before you start playing feel groups of four swing eighth notes superimposed over the pulse feeling remember to place a small accent on the first of the four eighth notes one two three four one two four one that's our basic group on two four start feeling this before you play another way to capture the correct rhythmic flow is to say the phrase slice of pizza along with the metronome pulse before and then as you start improvising this secret slice of pizza improv technique will get the internal flow of music going through I'll now improvise over the two five one progression and see feeling in fours using the notes of the C major scale let the flow of Swing eighth notes move the music by itself any direction as you play use one of the note to the scale of C for now and try to create a complete short musical phrase over the progression every time it will be different move with the groove or let the eighth notes hair you to a complete phrase let your fingers follow your ear sometimes start higher and goal or sometimes start lower and go higher explore the territory as long as you make a tasty your communicating is correct now would be a good time to introduce improv concept number two flow phrase breathe for now every time you begin an improv phrase allow the feeling and forest pattern to generate the improv flow at first you can intentionally create short continuous phrases of between one and two measures after entering the flow stop the melody at a place where you can feel that you've just created a complete musical sentence generally speaking a short melodic phrase is one to two measures of continuous eighth note flow a medium length phrase is between two to four measures and the long phrase would be anything longer than four measures continuous eighth note flow the common denominator of all the improv lines you will ever create is when your line is over you clearly feel that you've just created a complete meaningful musical sentence after you stop the line breathe for a moment and allow the rest after the line to tell you where to begin the next line this flow phrase brief template is the essence of all good basic improv lines this will work now we'll improvise over two five one progression that doesn't resolve to the one major seven chord we'll take the first four measures of satin doll to get started with this progression the first two measures are non resolving two five progression at C D minor seven to t7 over which we can improvise using the scale of the see where the implied one and the next two measures are two five one progression in the key of D E minor seven am over which we can use the D major scale feel the pulse feel and force and use the basic scales to improvise short and possibly medium length complete melodic lines followed by a wrist do this a couple of times around every time will be different sometimes you can do a longer phrase that covers a whole entire progression always flowing in the swinging always sounds like a complete melody sometimes you can do shorter phrases you can resolve it to a one major7 if you like at the end as you get familiar with the process you can extend your lines to include longer lines that will still follow the flow craze breathe template the feeling of completeness when you end your lines is crucial to the improv process your lines won't turn out perfectly every time but learning improvisation mistakes are allowed the percentage of the lines you nail will increase as you continue your practice if you fall off the improv horse just dust yourself off and get back on the pony I'll try some long lines on the to five to five progression D minor 7 g 7e minor 7 a7 we're demonstrating longer lines on the swing 8 field to do it's a longer melody let your fingers follow you here move with the groove facing down now we'll try it up revising over the two minor seven flat five five seven one minor six progression using the harmonic minor scale of the one this progression in the key of C is D minor seven flat five obviously sounds much different g7 C minor six for two measures on a harmonic minor scale in the key of C goes like this see a flat G a flat B C now I'll try the famous slice of pizza method so you can hear how you can use that phrase to get into the rhythmic flow one two ready go try it twice a week slice up it slice the beets up slice up paint supply at the end one two three four slice up slice slice for one sometimes star hire slice up beats a slice of cake for slice of pizza pie slice of slice sometimes door lower always come to a complete stop at the end of every phrase Wow - ready go sighs so slice of pizza slice of pizza slice of pizza every time is a different complete melody moved by the swinging proof let your fingers do the walking just throw yourself into it and you'll get it yeah as you improvise you can intentionally try moving your line either an ascending or descending motion or combine both directions for a longer line we're always looking to have the sensation when we stop the line then we have just created a simple coherent sentence followed by a rest ascending descending sometimes you steps sometimes try some leaps let's try some leaps snaps combine them you can sing along with your plane to help you get a sense of the melody that will help for some people on the road of Oh when you make a complete phrase and it's correct you should feel like you can say yeah at the end of every phrase Wow - ready go yeah say D sunny yeah b4 yeah hello I get his brother yeah little Louie Armstrong here one more Oh let it flow let it go let it grow let clothes let it go move with the groove and feel it in your soul to be Thor we have one more bridge to cross before we arrive at the promised land improvising over tunes while though I'm going through tonight's class quickly you should feel free to take as much time as you need with each individual step until you feel you've got the basic process solid in your fingers in your mind and in your heart this level of learning usually takes between two and three months I usually have students do six keys of improvising in each of the four progressions at the rate of two to three keys per week the six basic keys to improvise on for these progressions are generally C F B flat E flat and a flat and you may substitute the key of D and a for the keys of efj Latin a flat when improvising over the 2/5 one minor progression I'll now improvise a bit over the two five one progression and C followed by the two minor seven flat five five seven one minor six progression and a minor the complete sequence will go like this D minor seven for one measure G seven for one measure C major seven for two followed by B minor 7 flat 5 e 7 for one measure and a minor 6 for two measures I'll use the scale of C major for the first 4 bars and the scale of the a harmonic minor for the last four bars 1 2 3 if you hear enough that's fine on the scale you can try it but it's cool to just stick to the notes in the scale and first every different chord progression has its own character three thoug slice of pizza slice of Pete sometimes extra loud three four one two going into a minor same flow three core two five one and see short melodies everyone sounds complete go with the flow of the eighth note get the hang of this alright now we're going to be minor now we'll try a little with the slice of pizza method you'll be amazed at how this works if you say the words as you're improvising with a slight accent on the word slice your improvising will be right in the improv zone one two three Thor - now go to E minor slice of each slice of beats up a slice of pizza I won't get rid of my day job sighs beeps off slicer slice of pizza two three four into a minor we generally want to do two times around this complex progression and then stop and take a breath let's try combining the one six two five progression and see with the two five progression in F the complete sequence here will be C major seven for a measure aim dominant seven for a measure D minor seven for a measure chain seven for a measure C major seven for two measures followed by G minor seven which is two of fc7 five of F F major seven one and F I'll included the notes for this class the entire process including the order of the keys to practicin this will make the learning cloak clear for you if you hear other notes to play you can try playing them but it's also cool when you begin to stick to the basic scales makes it easier but you can feel free to experiment with some other possibilities if you like we'll work on chromatics in part four of this series one six two five and C 2 5 1 and F going on those plays Rock here we have to switch scales faster not to see now we go into F and follow the F scale same concepts for phrasing let's try this one more time we're one six two five is you Oh back to the sea scale why some waves steps you can cause when it feels right and wait for the rest to tell you when to start the next one ready go 2 5 1 you can try some different combinations of these four basic progressions if you like to get more experience before going for a complete tune and you can also include the two common anomalies we studied in part one of this class in your combined chord sequence for more variety congratulations you are now ready to improvise over your first complete tune although this step will be a leap from what we've done so far if you've taken the time to integrate the musical elements and improv concepts that we've studied in part 1 & 2 of this series so far this should be a small and manageable leap when you begin improvising pip tunes that are fairly basic in their harmonic structure giant steps will come later you Coltrane freaks improvising on more modern Bill Evans Tunes Wayne Shorter Tunes or Chick Corea tunes involve a more advanced level of fear so concentrate on the super standards from the great American strong book to start I'll include a list of suggested standards for your consumption always map out the chords progressions of your tunes first take a section of the tune at a time and improvise at a slow tempo usually 66 to about 84 on the metronome to start let's put everything together on the tune take za train here is a mapped out professional diagram of the tune first we'll improvise on the a section alone when you do this you'll see that the challenge is almost exactly what we've done so far let's take a look at the a section of tape za train the chord progression goes like this C major seven t seven flat five for two measures d minor seven for one measure G seven for one measure C major seven for two measures our scales will be C major seven for the first two D Lydian dominant scale for the next two and we talked about this in the first part of this series the scale that works really well over this particular moment of this particular tomb a Lydian dominant is a major scale with a raised fourth and a flat seven so here we're doing a D Lydia dominant and then we can go back to C for the rest of the a section so improvising over the a section of takes a train is very much like what we just studied when we're improvising on the combined progressions here we go a section of take the a train Wow - ready very slow all the concepts on this day we'll just do the a section a few times you can stop at the end one two three take some time to get familiar with each section before going on little bit right to this court here it's a real content sound great that took was something else man this is improvising on the a section take a drink take CA train one more time age section improvising let fro stop at the end of the complete frames take a breath start another phrase and let it flow what more mistakes are allowed short phrases very tense now it resolves alright now let's tackle the bridge the bridge goes F major seven for one measure G minor seven for one measure F major seven for two measures that's all F climate we could play F major scale over those four cars a minor seven D seven that's a G planet we could play G C major scale over those two and then we're back home to C let's try the bridge again F major seven for one measure G minor seven for one measure all F major scale improvising two measures back on F major seven a minor seven weird G planet here G scale d7 mantasy planet C major scale here that's our bridge let's try Lyle improvising one two ready go all laugh scale here big phrases go with the flow I think you get the idea by now now we switch to G scale Oh back to see okay a full chorus on take the a train here comes the train get on it one two ready go always stay with the progression in your head keep that sequence real clear as strong as you improvise make a complete statement stop and wait to get a signal to start the next one and the ref I'm hearing what's gonna come next in my head it's a gift of the universe the music never ends use a little slide there here's another one that's a nice technique by the way we can use the c7 here to be forward F planet I said et7 make your phrase flowing stop to green we're going into G planet yeah back to the a section some leaps and steps is okay you three four we made it alright okay we just got through one complete chorus of improvising on tape za train now I'm going to double the tempo so you can hear what it sounds like a little bit down the line once you get the basic principles of improv happening you can look at the learn to burn class also on YouTube to get some ideas about how to speed it up let's try chorus at 1:30 to take the a train stay relaxed they flow in one to ten to still follows all the same idea obviously faster it's way yeah which is good otherwise you can hear all the concepts right how are we gonna up there whoo is this clear for you yep all right I hope this class has simplified the process of jazz improv you can now swing successfully like the two crazy Czech brothers on Saturday Night Live in the third part of beginning jazz improvising we'll explore how the use of our pity O's can expand and improve your improvisation Thank You Pfeifer Garden easy for your great work in filming and editing tonight's class and thanks also to my wife Harvick for her overall support and for letting us use hardy NYC you can reach me with questions compliments complaints or tomatoes anytime at Dave Dave Frank jazz calm blessings and keep swinging from New York City you you you

Channel: Dave Frank

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Keywords: Spanish jazz, jazz education spanish, piano jazz spanish, jazz theory spanish, freemishy, latin jazz, afro-cuban jazz, cuban music, clave, merengue, bossa noa, bolero, flamenco, how to play jazz, improvisation, jazz improv, jazz tutorial spanish, how can you learn jazz?, jazz progressions

Id: okKoZZ43KLo

Length: 39min 12sec (2352 seconds)

Published: Wed Nov 30 2016