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Author Topic: jazz vs classical theory (soloing secrets only the masters kniew until now)  (Read 1564 times)

Offline diverse379

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this is part of my theory class this is a tidbits section
not stuff covered in the class but something learned from a one on one with professor G himself

well we were talking about soloing and i showed him something i  learned from Melin Crispel

and he broke it down and showed how it was an advanced soloing concept

when you have a dominant chord

these are some scale concepts you can use

the elements are broken down into 
chromatics and scales

if you are playing a F7 chord

you can use the diminsihed chord A dim7 to use as soloing material

so first you can tke a blues scale from  each tone of the A diminished 7 chord

so the notes of a basic F7 chord are

F A C Eb

the tones of a
A diminihsed are

A C Eb F#

notice all the tones are the same except the f that is why the diminished built off the third is
related to the 7th chord

now play a blues scale on each tone
and play them over the F7 chord

f# blues
f A b C Db E
A Blues
A C D Eb E G
C Blues
C Eb F F# G Bb

Eb Blues
Eb Gb Ab A bb Db

play around with these scales start on different notes of the scale use different rhythims

combine riffs from one scale to the next play these over a left hand f7 chord or tritone

second thing to do play chormatically from each note of the scale being sure to land on the root or the third or fifth of the F7  chord

next after you have a feel for these two ideas

combine elements from each and start a cromatic run from Ab to C and then do a blues lick in C blues scale

you will find that using these two concepts will provide you with a rich pallette of sounds that will break you out of old ideas

this was a real breakthrough concept for me because i have never been good at soloing but even i had success with these scales and their uses

what about major chords and minor chords?

all i know about these chords is
dorian or phrygian on minor chords

and lydian scales on major chords

lydian is a major scale with a #4 tone

lydian is
1 2 3 #4 5 6 7
F G A B C D E 

dorian is a natural minor scale with a raised 6 degree
so f dorian is
F G Ab Bb C D Eb

is a minor scale with a B2
So F phrygian is
F Gb Ab Bb C Db Eb

dorian works well

the other scales are pentatonic
which work very well in gospel

i hope these ideas help you give a holler back if tiy have anything to add

To be or not to be that is the question you anwer when you pray practice and read your word

Offline Mysteryman

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Re: jazz vs classical theory (soloing secrets only the masters kniew until now
« Reply #1 on: February 22, 2007, 11:54:49 AM »
Thanks for the post diverse. Im not a good soloist either and I had a hard time figuring out what to do. Here are things I do though. If Im playing lush chords I will play major and minor scales over them. I do scales in and out of the key Im playing in. It sounds like Im doing alot but Im not.

Let's say Im playing a 2-5 in Db and on the 5 I play.

I will play a F major scale up two or more octaves after I play the chord. It sounds nice.
Ab/Fmajor scale.

I also got a trick on that diminished thing something like what you explained but more dealing with chording. I think you mentioned it before.

One morning I woke up and got on the keyboard and start playing. Some how when I was sleep I understood the key to soloing. I was able to solo out of the blue. I felt God gave it to me. What I learned was placement of your fingers or hand position will allow you to solo. If you float your thumb over certain areas of the keyboard it will become easy to solo on the fly.

I think it has some what to do with placement of the thumb when playing scales. Usually all the other fingers fall in place behind it. Basically I will float my thumb around the C area or the G area. In actuality Im almost placing my thumb over every position for playing the first five notes of the major or minor scales.

No matter what key Im in I can solo from any position on the keyboard. I might play a lick in one position. If I know Im going to move up I will move my thumb up. If Im moving down I will move my thumb down.

If I was in Ab and I had my fingers over Ab, Bb, C, Db, Eb I can solo with any of these notes are notes in between these notes. I know I want to move up I might move my thumb up to the first 5 notes in the Fminor scale. I can solo on these notes. If I want to move my hand down from there I might drop them to the notes of a Cminor scale or any mode. It can even be the first 5 notes in the C phrygian mode.

Doing this I noticed keeps your fingers from getting tied up in the correct fingering of scales. You can  even mix up with playing scales using the correct fingering. I guarantee if you try this type of thing in any key you will be able to solo in a few mintues.

I guess I now dub this my "Floating Thumb Technique For Keys."  :D
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Offline 4hisglory

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I'm going to try this tomorrow.  It looks really good.  Thanks, diverse.
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