chapter two: melodic material

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Jade Preston
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1 chapter to: melodic material Many approaches can be taken hen soloing/improvising over this progression. he easiest and probably the best place to start is by simply arpeggiating the chords. Start ith one octave from the loest note to the highest as shon belo, but try mixing up the direction (high to lo), using ne fingerings, and play the arpeggios in more than one octave. he idea is to look for logical places to connect the arpeggios. lso look for common and tones and chord tones that are close to each other. Practice connecting the arpeggios ith notes that are close to one another to avoid the sound of alays starting on the root note and playing up the arpeggio. o practice arpeggios ith a rhythm section go to pages 1 1 and use playalong tracks scending arpeggios? No. [1] Dmi Eb b b b bmj b b # # 3 EMJ # # n n * ll four-measure melodic ideas are played tice on the CD. CMJ

2 c hapter to Descending arpeggios? No. 10 [2] Dmi Eb b b b bmj b b n # # EMJ # # n CMJ Mixture of ascending and descending arpeggios? No. 11 [3] Dmi Eb b b b bmj b b # # EMJ # # n CMJ Mixture of ascending and descending arpeggios? No. 12 [] Dmi Eb b b b bmj b b # # n EMJ # # n n CMJ

3 chapter to nother ay to generate some nice sounding lines over Coltrane changes is by using digital patterns. digital pattern is any sequence of notes from a scale or mode. he numbers assigned to the note relate to the root of the chord or scale. o get the digits simply assign each of the notes in a scale (for example the major scale and any of its modes) a number starting ith the root. It s easiest to only assign the notes in one octave of the scale a number. Keep in mind that this orks for any type of major or minor scale or any of their related modes. he folloing examples and charts sho ho each scale (major scale, Dorian mode, and the Mixolydian mode), using C as the root, can be assigned numerical value. Do not confuse the numerical value ith the intervallic value as the numerical value does not take into account raised and loered intervals (minor 3rds, augmented ths etc.). Notice that the patterns for the Maj chord and the dominant chord are the same except for the seventh degree. his means that hen the common pattern of is used, it ill be the same pattern for the major chord and the dominant chord. Numerical ssignment Numerical ssignment Numerical ssignment b b b 3 C Major C Dorian C Mixolydian

4 he easiest digital patterns to start ith are for major chords and for minor chords. hese patterns are shon belo for C major and C minor. Numerical ssignment C Major c hapter to C minor Numerical ssignment b he patterns of for major chords and for minor chords can be mixed up to create many different patterns such as , , 1--3-, etc. Major Chord Digital Patterns Minor Chord Digital Patterns

5 chapter to lso, any digits from the scale may be used (not just numbers 1-) to create ne lines and patterns. he patterns and lines belo sho ho digital patterns can be used to generate some interested lines. hese types of patterns can be especially helpful hen soloing over other rapidly changing chords or chord progressions. Coltrane used these patterns hen he soloed over the tunes Countdon and Giant Steps. Make sure to practice digital patterns in all telve keys for major and minor chords. he first pattern uses the same basic digital pattern played in the same direction for every chord. While this exercise ill help make the patterns more familiar, it sounds a bit predictable. It is a good idea to practice lines that use more than one digital pattern as the chords change. lso, mix up the digital patterns for some interesting direction changes. Digital Pattern? No. 13 [1] Dmi Eb b b b bmj b b n # # # EMJ # # n CMJ hese next lines demonstrate directional changes using digital patterns. More Digital Patterns? No. 1 [2] Dmi Eb b b bmj b b b n # # # EMJ # # n CMJ? No. 1 [3] Dmi Eb b b bmj b b b n # # # EMJ # # n CMJ

6 c hapter to More Digital Patterns cont.? No. 1 [] Dmi b Eb b b bmj b b n # # # EMJ # # n CMJ 10 10? No. 1 [] Dmi Eb b b bmj b b b n # # # EMJ # # n CMJ ? No. 1 his sequence of patterns makes use of other digital patterns than and (minor) [] Dmi Eb b b bmj b b b n # # n EMJ # # n n CMJ # he next set of lines or patterns sho ho using digital patterns as ell as elements of the jazz language (guide tones, enclosures, tension and release, etc.) can be used to create lines that are very interesting for this type of progression. It ould be smart to learn these lines in telve keys and practice plugging them into tunes that have long ii-v-i changes. 13

7 chapter to Coltrane ii-v patterns? No. 1 [1] Dmi Eb b b bmj b b # n # n EMJ # b b n Œ CMJ 3? No. 20 [2] Dmi Eb Œ b b Œ bmj b Œ n # # # EMJ # Œ b n CMJ # b? No. 21 [3] Dmi Eb b b b bmj b b # # EMJ # b b n CMJ ? No. 22 [] Dmi Eb b b b bmj b b Œ n n EMJ # n b CMJ. No is hen the real fun begins. he folloing play-along tracks have been provided for practicing all of the material that has been discussed so far. Start by practicing the arpeggio material ith the rhythm section on the CD. hen practice lots of different digital pattern ideas, and then move on to the other patterns presented in the book. he idea is to first practice the material over and over in one key, then move the idea around the circle of fourths ensuring mastery in all telve keys. Long ii-v-i Reharmonization Vamp No. 23 Slo tempo? Coltrane Changes: Regular ii-v Changes? No. 2 Faster tempo Dmi Eb Dmi bmj 1 EMJ CMJ CMJ

8 ? No. 2 Sloer tempo? No. 2 Sloer tempo Each line is played tice CD times Dmi E b Long ii-v ith Coltrane changes moving in fourths bmj EMJ c hapter to CMJ :1 :1 Gmi b DbMJ E MJ C FMJ :2 Cmi Db GbMJ DMJ F bmj :2 Fmi F # MJ D GMJ b EbMJ : bmi EMJ CMJ Eb bmj 1:0 Ebmi E MJ C FMJ b DbMJ 1:22 bmi DMJ F bmj Db GbMJ 1:3 Dbmi D GMJ b EbMJ F # MJ 1: Gbmi CMJ Eb bmj EMJ 2:02 mi C FMJ b DbMJ E MJ 2:1 Emi F bmj Db GbMJ DMJ 2:2 mi b EbMJ F # MJ D GMJ 1

Foreword PART 3: WORKOUTS Melodic Minor Workouts How to Practice Workouts... 26

Foreword PART 3: WORKOUTS Melodic Minor Workouts How to Practice Workouts... 26 TABLE OF CONTENTS Foreord...................................................... 7 PART 1: BACKGROUND............................................. 9 PART 2: THEORY.................................................