Improvisation Class

Transcription of
course of
Improvisation
by Gary Burton
Improvisation Class

Municipal Music School of Fuenlabrada

February 2021
Improvisation Class - EMM Fuenlabrada
 Transcription of Gary Burton's Improvisation Course

Index
1. WEEK 1................................................................................................... 3
1.1. Welcome .............................................................................................. 3
1.2. The improvisation as a language ............................................................... 5
1.3. Development of your language .......................................................................... 7
2. WEEK 2................................................................................................. 10
The vocabulary of the improvisor ........................................................... 10
2.2. Expand his vocabulary ......................................................................... 17
3. WEEK 3................................................................................................. 18
3.1. How choose the scales in real time ............................... 18
3.2. Elección of its scale................................................................. 22
4. WEEK 4................................................................................................. 24
4.1. Harmony for improvisers .............................................................. 24
4.2. How use guide note lines ....................................................... 28
5. WEEK 5................................................................................................. 31
5.1. Tema and variationn ................................................................................... 31
5.2. Theme practical and variationn ..................................................................... 38

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WEEK 1

1.1. Welcome

1.1.1. Welcome
Hello, I am Gary Burton, welcome to my course: Introduction to improvisation. This is
my instrument, a vibraphone. It is one of the mallet instruments, like the xylophone and
the marimba, only that the vibraphone has metal keys. And it was invented in 1930, by the
it is a quite new instrument.

When I started playing music, I didn't take it very seriously. I was just a kid. But
when I discovered jazz, when I was about 13 years old, I became passionate. I fell in love with the
freedom and creativity that come with the improvisation of being a jazz musician. And to
As long as you continue to improvise yourself, I'm sure you will be
agreement that it is a beautiful experience, that of composing music while
Advance and touch spontaneously. I was very lucky. I have had a wonderful career.
Viajé por todo el mundo dando conciertos y grabando discos y estoy muy agradecido
for the opportunities I found along the way.

I also participated a lot in musical education. And that is what brings me here today.
screen of your computer. I was one of the early promoters of education in
line. And when it was technically possible to teach music online, I was also a
enthusiastic defender of the topic.

In fact, I have created my own improvisation course for Berklee College for its
professional training division. The course is called Jazz Improvisation by Gary
Burton. I have been doing it for a long time and I have learned a lot about how it works.
online teaching. And, especially, the teaching of improvisation, and I thought it was
a fabulous idea. I will offer my experience and knowledge to all interested parties
here on Coursera.

1.1.2. How this course works

Well, let's talk about how my course works and the type of resources we are going to use.
need to complete the tasks.

Cada semana hay uno o quizás dos conceptos que son presentados y explicados, y
ways to practice these concepts and put them into use. And, of course, the homework
will be directly related to that concept.

An opportunity to demonstrate that you understand how it works and that you can incorporate it.
your way of playing. Thus, in some cases, working at home will involve things to do
on the computer screen. Maybe tests or filling in with keywords and that kind of
things. In other cases, there may be some written music and you will have to download it in
a PDF file and add things to it. You may need to write some scales.

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or write some chords or write some lines or certain key notes or whatever. And,
in that case, when you have finished with it you will have to scan it and send it
return as PDF file.

So you will need a scanner. You will also need to record yourself playing, creating files.
MP3 of whatever you have to play. It doesn't have to be anything elaborate. We're not looking for
studio-quality audio, just clear to hear. The simplest thing is to have a
microphone and some basic recording program on your computer and you are ready.

Thus, you will have to create an MP3 file and upload it to the website. After that, you will have some
tasks that will involve touching something, a clue, something that has been created for you, a
rhythmic section, play a song. And you will have to play over it and record both.
the simplest way to do this, the least technological, is to play the music through
from your computer's speakers and play with your instrument a few steps beyond. And
place your microphone in the middle so that it is balanced. A good balance
between your instrument and the playback audio. And you can experiment a little
to see where to place the microphone.

Again, good audio is not required as long as the music can be heard from
relatively clear way, so it will be perfectly fine. Some students are
very technical and are equipped, and have sophisticated tools to do this.
You are welcome to do it in whichever way you want, but you don't need to spend a lot.
extra money on another team and things just to complete the tasks. It's not necessary.
I am always asked about notation programs. You don't need Sibelius or others.
types of music notation programs to complete the course tasks You can
use it if you want, if you are familiar with it and prefer to write it that way, it is
perfectly correct. But it is not a requirement. And, again, do not feel that you have
to go buy new software and learn how to use it and that.

I will make one more clarification about the types of files. I have already mentioned the
PDF and MP3 files These are the most universal. Virtually any computer
You can open those files. If you record something in a wav file or a Garage Band file,
a lot of students will not be able to see your work, including me. So, my
the recommendation is to use the most universal files possible. That means MP3 files and
MP4 when recording music. It's all you will need to complete the tasks for this course.

1.1.3. Learning music online

If you haven't taken an online course before, be prepared for some surprises. The first thing is
What you will see is that there are many options and flexibility for you. You can teach the class and use
the class materials whenever you want, At any time of the day, 24 hours.
You can take days off and make up for them later, and you can also go back.
and watch the lesson over and over again, as many times as you want, until you feel that you have
completely understood.

It is much more flexible and personalized than the traditional classroom system. Moreover,
you will have a completely new experience in the way you interact with your

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mates. I realized that in traditional teaching, students often,

they did not talk to each other unless they were friends with someone in class. But in a
In the online class, there is a lot of interaction for one reason: all the students can see the ...
homework and tasks of other students, so everyone can comment, share and
communicate with each other about what they learn and how they progress in tasks. This
interaction is one of the most important parts of online education.

You will learn as much from your peers as you do from me and it's something very healthy. In this
line I want to point out that there is a lot of respect and trust involved in a
online learning experience. We are going to critique the work of others, we are going to
talk about how to do things and how others have done things. Take into account when
When commenting on someone else's work, you must do so in a comprehensive, useful, and constructive manner without...
humiliate, ridicule or none of that. It is advisable to have a lot of respect in this type of
learning, so keep that in mind.

1.2. Improvisation as a language

1.2.1. Studying improvisation

You may wonder if you have enough experience and musical training to
to understand this course and keep pace with the other students. I can affirm
that in my past experience of online teaching I had a variety of students,
from the intermediates, a little more than the beginners. Intermediates until
complete professionals and everyone seems to be doing quite well in this online environment.

I can ask you a few things and that will probably tell you what you need to do.
learn. Can you read a score, a basic score of a standard song, and
play it with the regular tempo and finish it well, and know some of the symbols of the
chords? For example, do you know the C seventh or F minor seventh, etc.? Did you try
improvise while listening to recordings and just try on your instrument to see
Can you copy what you hear in your favorite recordings?

This is how most of us start, improvising. There is something I must emphasize about
this course and other similar music courses. It is a little different from other types of
courses he has done. For example, if he takes a math course and learns
a technique or formula in mathematics can generally be applied immediately
to solve problems.

But in the case of music, the learning experience is more subjective. It's like
learning a new language. And it takes time to assimilate things in your memory and how
his brain works. Then he won't go from being an intermediate level musician to a
professional musician during the weeks we have classes. This
it will happen in the following months, and even years, while it continues to work and
adding things to your experience. That's why I want to warn you that you may not see changes.
drastic changes in the weeks when we study the materials in class. But you will learn
the information and will have the knowledge that will help you to achieve it and continue
learning and assimilating much time after the course has ended.

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1.2.2. Spoken language and improvised music

Well, we have covered the basics and now we are going to get started. We are going to work. The first
cosa a entender es la similitud. Y la relación entre la palabra hablada y la improvisación.

Our brain works in a very similar way in both actions, so let's

See how, how speech works first. Let's say that what I want to do is talk.
about, and explain to you what this thing is. And immediately, as soon as I have the
need to communicate this information, my brain demands words from my memory
that combine. Mallet, vibraphone, wool, rubber ball, rattan, flexible, etc. And these
words are all connected to this object in my memory, and they are all
stored in my memory.

We also have grammar, because to explain this, it's not enough for me to just throw out words.
random. We must also be able to arrange them in a sentence structure
logic, to understand better. And this is what grammar does. We learn the language,
normally our native language, when we are children, imitating and listening and
testing, by trial and error, and we also studied it in school and even
we learn in more detail how grammar works and all that. Always adding
our vocabulary and our grasp of grammar, as we grow and
being more polite.

There is also content; when I explain something, there is a certain order to it. The first
introduction I am going to talk to you about this drumstick. And then each phrase that
I add, add to the story, explain what it's about, how it is made, you know, what the reason is.
of the different materials, etc. And I turn that into a complete explanation, a
a little story that is told. So we have vocabulary, grammar, and content, and
the same for when we improvise.

For improvisers, vocabulary is the notes, the sounds we hear.

We learn the names of the notes, and the sounds of the notes, and this also includes
the scales and the chords. Thus, these basic musical sounds are stored in
our memory and we can claim them when we need them, depending on the
musical circumstances at that moment, we will demand the correct notes for
to touch them.

There is also a grammar in music. Just like conversation is

constantly advancing in time as we speak, the same happens with the
music, of course. We are in the moment, we move forward, and there is
movement and progress as the harmonies change from one to another. The mode in
que los acordes resuelven, hay reglas sobre qué acordes llevan a determinados acordes,
and what type of movement it is, etc. Just as there are grammatical rules, there are rules for the
harmony and for music. And we learn how that works, and that also adds to
our memory. This way we can create musical phrases that sound logical to the listeners.

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And finally we have the content. Just like in language when we are saying something
or explaining a story, we do the same improvising. Our improvisations
they are fragments of melody that are interconnected, and when you listen to them, you follow on.
uno a otro, de uno a otro, y éstos siguen un desarrollo lógico. Y luego, tienes un solo que
it can capture people's attention.

In this way, we have the same three elements of language that we use in the
improvisation as we do in spoken language. Well, think about it and we will see
the ways to put it in to see how it works in practice.

1.2.3. Storytelling
I must explain one of my favorite concerns about how improvisation is taught.
There is a real difference in approach that I think is worth considering.

Many improvisation books and many of the forms that the masters use are
they base it on learning familiar jazz phrases and playing them over and over in all keys.
In fact, many jazz books are a kind of page after page of exercises.
They are composed of phrases similar to those of jazz, the phrases that we listen to so much
frequency. And the writer will invent a whole page exercise that will take him through
of different keys, different ranges of your instrument, etc. The idea is that you
have fluency to play those phrases similar to jazz and sound like a jazz musician.

Now I will make a comparison with the speech. Let's say I will go on vacation to France and
I don't speak French, but on the plane, I have a little phrase book and I memorize some things.
What can I say. For example, what time is it? Where is the train station? Or, what...
What time is lunch? Or, I would like to order an omelet. Well, imagine now that I am
sitting in my café in Paris. and someone comes in and hears me tell the waiter that I want
an omelet, in French. For a moment that person might think that I speak French.
But let's think. I can't tell a story in French, I can't make a joke or
talk about politics or philosophy. That is the language skill we desire if
We will improvise.

It's not enough to have some convenient phrases that we can touch and sound like if
We were jazz musicians. It's not like that. It doesn't just work to sound like you're
improvising. You really have to be able to improvise, which means you must
understand the process and develop the skills and tools that make it
possible. So, if you have tried studying with books that have the approach of repetition
phrases, I recommend that you think twice if this really helps you. It is supposed to
there is a magical moment when once you have mastered those repetitive phrases
you can suddenly improvise. But it is not a calculation, it is not logic. You do not learn to
speak effectively by reciting a group of phrases over and over again with many
modifications. In reality, one must learn the language. That is what we will do.

1.3. Development of your language

I want you to start listening to albums in a slightly different way than you used to.
most of us listen to records to enjoy them, feel the rhythm and the atmosphere of

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the work. And we will flow along with the solo. You will notice some moments that sound
especially well and we enjoy them when they arrive. But I want you to try to analyze
a little more than what there is in an improvisation.

Imagine, for example, that you have a student who knows nothing about
improvisation but is interested in learning. And one of the things you decide to do,
it is to play a solo and then analyze it for him. Explain, here are the different types of
things that are happening in this solo. Things like what style is it? What is the
{"rhythmic sensation? What are the sections of the solo? Does it have eight-bar sections?":""}
Measures? Or four measures? How to analyze the song? What intervals are there?
What rhythmic figures are being used the most? That one
type of things.

We have reached part one of our homework for the week. I have recorded a solo in the
piano and you will listen to it. After playing it, I wrote down the notes I played.
Listen to it several times while looking at the written notes. Then, with the help of your keyboard,
computer writes a description of what my solo is made of. Again, like
I said, what kind of intervals am I using, what is the analysis of the song, what is the
time and the rhythmic sensation. Don't let yourself get carried away and write a ten-page dissertation.
about 32 measures of music. It seems that every time I assign something like this,
someone goes crazy and analyzes every note.

The entire analysis must fit on one page, it is a summary of the things I have used when
I was improvising this particular solo. Once you have your description ready,
upload it to the site, that is part one.

Activity 1
You will listen to and read the solo that I have prepared. I would like you to write a brief
analysis of my solo. Be sure to mention the following elements:
• Style
• Weather
• Scales used in the melody
• Shape of the song
• How does each of the sections differ from one another?
• Any pattern that you see emerging during the solo

You can download the files for this task from the links below.
Download the piano solo MP3
Download the sheet music for the piano solo PDF

Activity 2
Part two is a continuation of this song. Download the track of the song. There is
two versions, one has piano, bass, and drums, that is for most of you. And
one version is only for pianists, it has only bass and drums because it is not
desirable to have two pianos competing against each other in the recording.

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I want you to play over the recorded track and see how you do with this particular set of
chords. If you are an experienced improviser, it will be very easy for you and you will achieve it.
in a very short time.

If you are new to this, it will be a bigger challenge. Try your best to find notes.
that work on harmony and see if you can follow the development of the harmonies. It is
a place to start. And next week we will look at the vocabulary of
improviser. These are the scales and chords we use to play. Meanwhile,
good luck with this task.

You should download an MP3 accompaniment track for the set of harmonies and
A PDF file for the chord chart. Try your best to improvise a solo passage.
In the song. It is possible that he has quite a lot of experience and finds this familiar and easy,
or it may be something new and represent a challenge for him. However, it is a starting point.
and you will have an idea of what you know, and what you still need to learn. Choose one of the
MP3 files below; one has piano accompaniment and the other does not.

Download the MP3 backing track (with piano accompaniment)

Download the MP3 backing track (without piano accompaniment)
Download the chord chart in PDF

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2. WEEK 2

2.1. The vocabulary of the improviser

2.1.1. The vocabulary of the improviser

Hello and welcome back. This is week 2 and the theme for this week is 'the
scale.

Now, the first thing we notice when we listen to a musical piece is the chords.
And usually most of us at this stage of our learning, know the
notes that make up those chords. Let's say it's a B flat chord with a 7th.
We know the triad and the 7th that compose the basic sound. Now some musicians
they really don't go much beyond that, in terms of their knowledge of the
chords. And what you do in that case is present the tones of the chords.
and then you guess the other notes to fill in. The problem is that you can't touch everything.
a melody with only four notes of an arpeggio. You need more notes to make
melodies. So the people who only play based on that limited knowledge
they must take risks with other notes and use their ear to listen to the other musicians who
They are playing in that harmony and so on.

Now some musicians still achieve it. They are very good at doing this. In fact, a
Great musician I played with for many years, he was wonderful, Stan Getz the saxophonist.
This is how he operated while improvising. He never really studied much theory.
musical and didn't know much about chords. He only knew the basic triad for each
He would start only with those notes and then use his ear to find
other notes. Sometimes he made mistakes but he became very good at correcting them.
slide them to the next note, so it would sound good and so on. But no
we want to settle for that, we want to have a complete understanding of the
available notes within any harmony and chords that are presented to us.
So, for that we need a scale instead of just a chord. So the theme
Today is the scales.

2.1.2. Learning the scales

Today's topic is scales, specifically what we call chord scales in
the world of jazz. And if he saw some books on improvisation, it is possible that he has
found with some that included pages and pages of scales with names with
exotic sounds.

The truth is that there is a small number of scales that cover most of the
situations. There are ten of them that are the most used. And 90% of the chords and scales.
What you find in a song, a standard song or a jazz song will use one of
those ten scales. And they are the ones that really should be under your fingers and should
memorize and be able to play.

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We will see each of these ten scales today and what their characteristics are and how
organize them and think about them. And how to practice them. The goal is to memorize them to the point
in that they remember them instantly.

You may immediately recall some scales. Let's say the C scale, it's one that
It has already touched with security. And it is not necessary to stop and think about what the notes are.
that scale when he plays it on his instrument. He is used to playing it. This is how it is.
We can memorize the scales in two ways.

Our memory uses two characteristics. One is the shape that draws the scale in
terms of pattern. For example, if I play A minor, that scale of C minor has a
specific form. And it doesn't matter if you play on a keyboard instrument like mine,
or the piano. But in any instrument, there is a kind of shape and a pattern in the
execution of the scale. And we got used to recognizing that form. And also
we recognize its sound when we hear it. When we associate the sound and the shape
from the scale and that allows us to remember it instantly.

The problem is that you don't have time to think about the mechanics of the scale.
when it is playing. The chords change every two seconds. There is no time for the
awareness, to argue with yourself whether you can use A flat or not. That is, if
He must think about some measure regarding the scale that he is touching; he will not be able to continue.
music. We must have an instant memory. That is the goal, to have a memory
instantaneous. And the way we practice scales will help us achieve the level
as a memento.

In the classical world, the way scales are usually practiced is to go up and
drop. But this is not very helpful for a jazz musician, for an improviser.
We must create melodies in that scale. This means moving to different intervals and
different note groups within the scale. So, we want to have flexibility and
be simple with the notes in the scale. So, instead of practicing the classical way
with the scale we want to change the intervals.

Use most of the range of your instrument. Do not do it within an octave.

You will see that I am testing. I am not touching any specific pattern or combination. I am thinking about
mi mente y uso los ojos y veo la forma de la escala, la escala Do menor llamada doria.
Then we will talk about the names. And I am using different combinations of notes.
from that scale. I immerse my eyes and ears. I get used to the sound of this scale. And
later I recognize her so well that as soon as I see that A minor is needed
seventh but without even thinking about the notes of the scale I can simply
start playing it. That is the instant memory we seek.

2.1.3. 10 most important scales

As I mentioned earlier, there are ten scales that are the most commonly used.
And those are the ones you always have to be ready to play, and to be able to remember.
instantly, and feel comfortable with them.

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If you think about it, there are ten common scales and 12 different key signatures. Which gives
a total of 120. It sounds like a lot, but in reality many of these scales
they are related, so it is not really learning 120 totally different things.
They learn faster than you would imagine. There are basically two ways to
study it.

The first is being methodical, and saying, well, I have 120 scales, so if I work
in two daily scales over 60 days, I will be able to cover them all. I don't know anyone who has done it.
done that way, to be honest, but it is certainly logical. Almost everyone learns
in a different way.

Every time they learn a new song, they analyze it and look at what chords, what scales
of chords are needed and if new scales are needed almost in every song that
you will learn at the beginning. Then, you add a few new scales each time you
you learn a new song. And eventually, you will have covered them all simply
studying 25, 30, 40 songs over the next months, or the time it takes you
to you.

So, it is a combination of intentionally learning them and learning them with each
new song. What you shouldn't do is try to guess, or try to pretend.
When you come to a chord symbol in a song, and you're not sure, you won't have the
automatic recall of which scale goes with the chord. You must learn it and practice it,
and add it to your memory.

This is a situation that happens to everyone while they are in their stage of learning.
And I'm sure it has happened to you. You're playing a new song, and the first
The chord is good, it's a B flat, I already know it. Then there is a F7, okay, I know that.
play on that chord. Then a C chord, I know what to do there. And then you see that
there is a problem on the following page. It is a F sharp minor seven flat chord
five. And the tempo keeps moving, and you get closer and closer, and finally you arrive
To the chord. What to do then?

You have this chord for which you don't know what scale to play. You're not sure that
you should touch. Well, there are a couple of options, and it’s something fun. One option is not to touch
at that tempo. Take that time to tune your instrument, or simply
rest. and listen to the other musicians, and see which notes they are playing, see if you can
recognize the notes and how it should sound. It's an F sharp minor seven flat five,
so you can start with F sharp, because we know that note will work.

Well, and again, listen to what the other musicians are playing, and the chords, the
backup notes, and so on. And you may realize, oh I hear that C works. I can
listen to the C and the F sharp, oh I hear an A too. In that way you can
find some notes that will help you realize the harmony. At least at the beginning.
But don't stop there.

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When you recognize that a chord is unknown, take a mental note, next time.
what you practice, find the scale that goes with that chord. And then, try to
memorize it. Now, let's talk a little about how to do that. Let's touch on it a bit.
about the scale in random combinations. The idea is to get used to the form and the
sound that it provokes.

Then your brain remembers this combination of figure and sound. And the next time
that you see a D sharp minor seven flat five, you will have instant memory and
You will be able to play in the chord. That is what we will do.

As I said, there are 120 theoretical possibilities if we talk about all 12 keys.
But you will learn them quite quickly once you start doing this with each new one.
song that you learn. Learn the correct scales, and then make sure you have them.
touched earlier, or make sure you have time to stop and learn them now.

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2.1.4. The modes

Have you heard of the scales called modes? It is a term used in teaching.
traditional music and also in classical music to describe scales that derive from
the major scale, the diatonic scale.

They are usually explained this way: you start with the major scale, this is called
the ionian mode. So, if we go to the next step in the scale and start it from
there, this is called the Dorian mode. Let's move to the third step, it's the Phrygian mode, then the
Lydia and the following.

Technically this is true and perhaps interesting, but it is not useful for us improvisers.
to think of them this way. What is important for us as improvisers
the scales belong to a certain category: they are major, minor, or
seventh dominant.

What color are they? Are they quite bright or dark? Those are the characteristics that
We must know about scales when we use them in the songs we play.
This is a better way to remember the modes and follow them. And these seven scales are
among the ten most common scales used in popular music, in jazz
standard... these are the scales most frequently used in Western harmony.

We start with the brightest of the seven modes. That would be the Lydian. It is a scale.
major, but with the augmented fourth. This is the one that sounds brighter. It is a scale
major, belongs to the major harmonies and has an augmented fourth that makes it
brilliant.

The following scale is the basic major scale, which is called the Ionian mode and also
it is used in major harmony. Then you notice that the notes in the scale are decreasing
little by little, as the scale descends it sounds darker. In this case, this mode is called
mixolydian and is used in dominant seventh harmonies.
We change one note more, we lower the third, this transforms the scale to a mode.
lower than called doric. We lower one note more, it becomes flat, the sixth.
also. You may notice that the scales become darker and darker. This is the mode
wind

If we lower the second, this is called Phrygian. Finally, we have the locrio, in which
we also lowered the fifth. These are the seven modes, from the bright Lydian downwards
to the darkest, the locrio. Four of the scales belong to the minor harmony, two
of them belong to the major harmony and one to the dominant seventh chords.

2.1.5. 7th of dominant

So we have the seven modes. There are three more scales that are used a lot.
frequency in jazz and popular music. And the three are used in harmonies of the type seven
dominant. Let's look at each one of them.

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The first one we will analyze is called seventh flat Lydian. It is a Lydian scale, but in
instead of having a natural seventh, it has a flat seventh. Is that correct? This is the
seventh flat Lydian scale.

Next, we have a scale called altered scale. You may have seen the symbols of
the chords that, for example, say C seventh flat ninth. Well, that ninth was
altered, half a tone lower to sound more dissonant and have a richer color.
There are several notes in the scale that can be altered to be more dissonant and there
a scale that uses them all on a scale. And from there it gets its name, the scale
altered. So, I will take it through each note of the scale. It is raw, then there is a
B flat ninth, C sharp ninth, third, sharp eleventh, and thirteenth
B flat. The B flat seventh and C, the four altered notes, the B flat ninth, the ninth
sustained, the eleventh sustained, the thirteenth flat are in that scale. Along with
the structure of basic chords, 1st, 3rd, and 7th.

It is a very common scale in jazz harmony for dominant seventh chords.

You will use them a lot. This is the altered scale. I will get to it in a minute and I will tell you.
A curiosity about the altered scale that you should keep in mind.

But the third of these additional scales and the last of the ten is the diminished one.
symmetric. As expected, it sounds like the diminished chord. And in reality, it is
composed of two combined diminished scales. Two diminished scales
combined.

It is a close relative of the altered scale. It is almost the same. It starts the same, the path, the
B flat, A sharp, the third, the eleventh sharp, but instead of the
diminished sixth, we have the diminished thirteenth. We have the fifth and sixth, therefore
that the lower part of the diminished scale, the symmetric diminished scale, is the same
that the altered one but the higher notes are slightly different.

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These are three of the scales used in dominant seventh type harmonies. Now,
As I said, there is something else to point out about the altered scale. It is a secret note. That's right.
as I denominate it. The fifth of a chord can be perfectly used in harmony
of altered chord and in an altered scale. It is not included because we have a scale
full sound without the fifth. So, if we add it, there will be exactly one note.
cromática adicional. Entonces se la eliminó en términos de la descripción de la escala
officially altered.

But what you need to know about the possible inclusion of the fifth is that it will be found
con armonías alteradas en las canciones. Y esa será la quinta en la melodía.
Evidently included by the composer, it sounds good and works. Please note that
in a situation of altered harmony even if it is not officially on the scale it is a
note that can be perfectly used in an altered scale.

2.1.6. Uses of the chord scale

Well, these are the ten scales. We must know these scales that occur very well.
frequently. Let's review what we are supposed to do with them.

We wish to assimilate them, using two characteristics, the pattern they form and the sound.
What they do. When I say pattern, I mean the shape of the scale. And some people always tell me...
they interrupt here and tell me that they do not play the vibraphone or the piano where the notes
they appear in front of them.

I play the saxophone. What should I do? Well, the truth is that each instrument, each
each musician of every instrument has a way of imagining groups of notes, whether it is
whether it is a chord structure or a scale. And I often asked the
musicians of other instruments how they imagine a scale or group of notes. And it
I assure you that most respond that they imagine them on the piano keyboard, even if not.
They really play the piano. This seems to be a very common way of imagining them.
Some people say they imagine them written in a manuscript.

And others, the saxophonists, for example, often say that they imagine playing them on the
scale. When I think about how I imagine a seventh, an execution of eighth notes of
the notes of the scale I imagine typing really fast. However I do it,
It will have a way to visualize the scales and the shape they have. And you will hear the sound.
from the scales. And it is those two characteristics that allow us to form a memory that
we can evoke.

So, with each new scale, find the notes and then do tests, make
different combinations. Use the entire range of your instrument, do not limit yourself to
an octave, I have already said it several times. Speed is not a problem. It doesn't matter if the
you can play faster and faster. What matters is that you assimilate the memory of this
group of notes and different ways to combine the notes in various combinations.
That is what I should do with every new song I learn or practice.

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Check the chord symbols and make sure you know the chord scale that
go with each one. Also, if you are playing, let's say this chord in E flat seventh
minor and the scale is Dorian and you play it. Be aware that it is an E chord.
minor seventh flat even if playing in the scale, because we really must use
not only the tones of the chords, but the scale of chords as we play in a
harmony.

So, being aware of the tones of the chords and the tones of the scale is
important for you as an improviser. So for this week's task, I
I will ask you to demonstrate some of these chord scales. I will give you six of them and you
I will ask him to do what we were doing here. Play the basic scale and then start.
playing different combinations. Be creative, but remember that what you are trying
show me how it feels to be comfortable playing in each of these scales. Record it and
Upload it to the site. And I will see it next week.

2.2. Expand your vocabulary

For this task, you will need to review all the scales learned in this lesson and record one.
track of 30-60 seconds where they will improvise in 6 of the modes analyzed this week.

Must:
• Watch the video presentation of this lesson about the ten scales of
commonly used chords.
• Make sure to understand all the scales, with which harmonies they relate and
how to practice them better.
• Record your task of playing the scales

For this week's assignment, you must download the accompanying MP3 track and
record oneself playing the melody and improvising.

Download the MP3 accompaniment track of '500 Miles High'

Download the MP3 backing track of '500 Miles High' (piano-free version)

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3. WEEK 3

3.1. How to choose the scales in real time

3.1.1. Choice of a chord

We are in week three and we will talk again about chord scales, one
continuation of what we covered last week.

Last week we talked about the ten most commonly used chord scales and how
practice them. And especially how to memorize them and learn them to use them
in improvisation. Well, there is one more aspect about these scales that needs to happen
quickly and almost automatically when we touch. And that aspect is choosing the
correct scale to fit into harmony.

You might think, well that's something I will have to study for a while. I will have to
take the song home and play it a bit and decide which are the correct scales.
But we don't want to do that. We want to be able to play the song and improvise.
about her as soon as we have her in front of us, during a rehearsal or session. There is a
small system that I have created that allows us to make these decisions quickly,
in real time while we are playing the song, and it is about this that we will talk.
today.

3.1.2. How to find the correct major scale

Yes, this is how it works.

In every harmony, there is one or two questions you need to ask to determine the
the correct scale from a chord. Let's take the easiest example, let's say that
It is a major chord. It is a major harmony, let's say C major 7. Remember the scales.
about the ones we talked about last week.

Among the 10 most common scales, there were 2 major scales. The Ionian and the Lydian.
The difference is in the IV degree. The Ionian has a perfect 4th, the Lydian has an augmented 4th.

So if you encounter a C major 7 chord in a piece of music, you need to respond

the question of whether it is a perfect 4th or an augmented 4th? In other words, is it an F
natural or a sharp F? And then you will know which of the 2 scales is the correct one for that
compass. And here is how you find the answer.

First you look at what is in front of you. Look at the written music. Half of the time,
The note in question will be there in the written melody of the song. So if you see a B flat
Sustained, then you know what Lydian is. And if you see a natural F, you know it's Ionian.

If you don't have the melody written in front of you, sometimes, for example, you might be playing a
chord diagram for big band and only have symbols, or if the note in question,
F or F# does not appear in the written melody. So we have to find the answer.
looking at the previous scale, the harmony before which we are looking. And
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you will find the note there. You will find an F or F# in the previous chord. Thus using the
The most common example of going to G7, we see that there is a natural F in the G7 chord, and that
What will make the C major chord be Ionian.

Whatever sounds in the harmony wants to continue sounding in the next harmony,
it can. If something forces it to change because the chord symbol requires it, that is
another story. But if nothing makes it change, then any note that is playing
he wants to continue in the next harmony, and will influence it. And this is how
we answer the question.

And there are two ways to answer it. Either it is visible in the notes written in front of you or
You look at the previous scale and use that as an indicator.

3.1.3. Chord Scale Method

Now, in truth, everyone in the band goes through a similar process to decide the
chord scales. That is to say, as they approach each new chord they attempt
guess, they make their informed assumption about what the best option is, the option
most likely that everyone will adopt.

The band will not be in 100% agreement all the time. Naturally, people
they think differently about what the correct scale would be for each moment. But you
It will be correct most of the time. Because in many cases, the answer is very clear.
It is evident that this specific harmony is Lydian, there is no doubt. But there will be moments
in which the harmonies are not so evident.

In fact, sometimes two chord scales seem to work reasonably well. And no
There is a compelling argument for eliminating one of them. And perhaps I will try both.
and say that both work well. At that point, you can choose the one you like the most. Or
you might notice that the other band members seem to prefer this one, then
I will choose this one. Ultimately, we want to reach an agreement with everyone. But the
first or second time I heard the song, it will find its way. And by using my
The system I recommend today, you will be correct 85-90% of the time.

It won't be a 100% well-defined choice when choosing the scale, but the time will be enough.
for you to play the song and finish it in real time. And, right away, with each
additional chord that plays, you will notice that there is a scale of chords that does not seem to be
the correct one. I will try a different one when I get there this time. And you will do the
necessary corrections. But this will help you take the first steps.

3.1.4. How to find the correct minor chord scale

Ahora vamos a hablar sobre las armonías menores. De nuevo, tenemos una o dos
unresolved questions. And the first one is about the 6th.

Remember our minor scales. There is the dorian, the aeolian, the phrygian, and the locrian. Each
one has an additional decreased grade.

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Thus, the Doric has a natural sixth. And if you see the natural sixth in the melody or strongly.
indicated in the harmony, then that is the only issue you need to resolve. It would be
a Dorian if the 6th is natural.

If it is a diminished 6th then it may be wind. Most likely it is. But

there is also the possibility that it was Phrygian if the 2nd is also diminished. That is, if
the 6th is diminished, it is ethereal, if the 2nd [SOUND] is also diminished, it is Phrygian.

Thus, in the case of minors, you have the possibility of having to raise two issues.
Once the 6th has been diminished, you have to check the 2nd and see what happens with
I'll tell you that wind power is more common than Phrygian, so the first assumption, when
You see a reduced 6th, it is probably a wind one. But, take a look.
fast to the 2nd as well, in this case, if natural, I am using an D minor chord.
Here, to see if it's a diminished 2nd, which gives you a Phrygian.

Now, the fourth scale, the Locrian, we will need a little help with this one. Whenever
the composer wants to use the locrian scale, the locrian sound, this will be indicated in
the ciphering. That is, instead of just rem7, it will be rem7b5. Or, as some people do
they call it A sharp minor diminished. That means the same thing, and there are two ways
to describe it. In Berkley, we call it minor7 b5, but you will see both versions used.
in the professional world. Well, whenever a scale is identified as locria,
this will be in the cipher. You will know immediately when you see m7 b5 in the
cipher that is what the madness requires.

Bien, con las menores, dos cuestiones como máximo. La 6ª, y lo que ocurre con la 2ª. Y
this is the answer for the minor scales.

3.1.5. Minor Examples

Let's look at some examples using minor scales. First, we focus on the 6th.
ésta es la primera cosa que buscamos y vemos un si natural. Y eso responde nuestra
question, will there be a doria scale for this r m.

In the following example, if we look closely we see there is a B flat in the melody. And that tells us
Well, at least it could be a wind one. That answers question number
One. The second note in question, the II degree of the scale, is a natural E.

So, we want to see if there is a natural D present. And there is none in the melody.
of the re m, but if we look at the previous harmony, there is a natural mi, right in the
melody, and it would also be in the notation of that particular harmony.

Thus, that tells us that the ocean will be natural, and that the scale will be wind-based. And finally,
here we have an example that requires a Phrygian scale. In this case, we approach
to the D minor chord from an E flat major. Thus, we have a prominent E flat major. This, in D minor, is
the II degree of the scale. And in this case, as it is diminished, it will be E flat, which gives us
He says it will be a Phrygian scale.

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Well, these are examples of the three types of minor scales and the questions that
You have to make yourself. What about the 6th? And the 2nd? And that will give you the answer.

3.1.6. How to find the correct dominant scale

What happens with dominant seventh harmonies? We saw the major chords and
minors and now let's look at the situations of dominant seventh.

It begins very similarly to major harmonies in the sense that it is

the fourth of the scale that interests us. In the case of the mixolydian scale, it is a fourth.
natural. And with an augmented fourth it is called the seventh flat lydian. These are the
scales that we saw last week.

So, perhaps this is everything you need to determine when you see your musical piece,
It can be obvious that it is Mixolydian or seventh flat Lydian. It just depends on whether it is a
fourth natural or an augmented fourth. Furthermore, we must ask ourselves about the
dominant seventh chords. Are there any altered notes?

Remember that last week we talked about the altered scale including the ninth.
flat, the ninth sharp, the eleventh sharp and the thirteenth flat. Those are
altered notes. And if you see altered notes in the melody, in your dominant seventh chord.
or if they are indicated by the preceding harmony. Then, that moves your seventh chord
dominant in the world of the altered, that is to say, and one of the altered scales will be taken
as the correct option.

So, there are two, if you remember from last week, that are closely
related. I call them cousins, this is the altered scale and this is the diminished one
symmetric. The lower part of the scale is the same for the altered and the diminished
symmetric and the only difference is that instead of a flat thirteenth in the altered one,
it is the sixth natural in the diminished symmetrical.

Let's look at some examples. In the first example, there is an F sharp in the melody of
This is a D seventh and it tells us that it will be a D flat Lydian. I also don't see any note.
altered. So, the seventh flat Lydian is the correct chord scale for this
first example.

Now, let's look at an example that requires the altered scale. We see altered notes in the
scale. in the melody. And that is the minor scale. Now I will give you a second example and I
I will remember something we saw last week. You will see in the second example that there is a
natural fifth in this altered scale. Remember that it is the hidden note, the secret note
what is on the altered scale. Officially it is not there, but it works. It does not enter in
conflict with the scale in absolute terms and occurs in many melodies in altered harmonies.
So, don't let this confuse you. If you see a natural fifth, do not take one.
conclusion and say that it cannot be altered because it is not on the scale. It is.

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Think of it as part of the altered scale. And in this example we see now you will see that
There is a natural B in the melody, but there are altered notes. Here a scale is required.
altered. Finally, this is an example that requires a diminished symmetric scale.

In this case, there is a natural A required in the melody. So, instead of the
thirteenth flat of the altered scale, we have the symmetrical diminished. The scale
altered occurs much more frequently in songs than the diminished symmetrical.

So, their first conjecture is generally that if it is in the altered family, it

It should start with the altered scale. And then, if you have a moment to research the
next course, then it will appear again. Check the sixth and see if it is natural or
flat to ensure that the correct choice has been made. But the altered happens with
much more frequently.

Now, allow me to explain again that it is supposed to be a process of

quick movement. We want to do this, in time with the music. We don't have much.
time to stop and think. It takes me about 10 or 20 seconds to verbalize the steps
in the process while I describe each chord of the ones we talked about here. But, in
reality, once you get used to doing it, happens almost instantly. Your eyes
you find the note you are looking for and start playing. It's a very quick reaction. So,
Don't get too obsessed with having to sit down and study this over and over again.
The more I do it, the more melodies I learn, the faster it will be until I do it enough.
well automatically. And that's what we are looking for, that is the goal.

3.2. Choice of your scale

This week's task consists of two parts. First, download the sheet music.
500 Miles High by Chick Corea. You may have already played this song, or at least
that you have heard it, it is a well-known song in jazz, but this is the
piece that we are going to use for our example this week. Now, you will see that there is
a blank space beneath each line of the song, and I want you to complete the
name of the correct scale and write the notes of that scale. Then below
In each measure, you will add the scale and the name of the scale. And do that with the whole song.

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Secondly, I want you to download the track of 500 Miles High. There are two versions:
the trio version that most of you will use and the piano and bass version for the
pianists. So, download the track, take your instrument, and play a melody and then
improvise in the rest of the song and use the scales you have determined that are
correct.

Now, if some of those scales seem unfamiliar to you before starting, take
a moment or two to practice them a little before trying to play. I suspect that
There will be some scales that you may not know. Work a few minutes with each one.
to ensure that you can play comfortably in each scale and that you can
remember them by heart when you need them in the song. But in the end, finish your
recorded version of 500 Miles High and publish both your written analysis of the scales and
your recorded version to this page.

For this week's assignment, you must download the accompanying MP3 track and
record yourself playing the melody and improvising.

Download the MP3 backing track of '500 Miles High'

Download the MP3 accompaniment track of '500 Miles High' (piano-free version)

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4. WEEK 4

4.1. Harmony for Improvisers

4.1.1. Harmonic motion

So far, we have talked about the vocabulary of the improviser, that is,
on what notes are available. We have seen the chord configurations and
scales, but now it is time to look at the grammar of the improviser. That is, the way
In how music moves, the way harmony changes. It is necessary to
we as improvisers include this in our way of thinking. It is not enough
by just playing the correct notes. We also have to help the listener anticipate
the chords that follow and follow the movement of harmony and the way
what changes.

Todos sabemos que por ejemplo algunos acordes quieren resolver y otros están en
rest. So we have some key issues about harmony that we use as
improvisers.

Let's see a real progression from B flat 7 to E flat. This is the progression most
basic that exists in modern harmony, a five chord going to a one chord. And
Let us ask ourselves what the essence of this movement is?

Well, here it is. A flat moves to G. D moves to E flat, and there you have it.
sense of resolution. So, if I'm playing, and the music requires a B flat 7
followed by a B flat major 7 then I can guarantee you that at the moment
I need the change to happen at the beginning of the new chord, I am going to play it, do you hear it?

Why do I want the listener to hear that this change has taken place? You will notice with
expert musicians, professional musicians who don't even need an instrument
harmonically accompanying them with chords so that the harmonies come to life. They are going to
use enough important notes in your solo to show the harmony to the listeners, and
that is what we want to do as interpreters.

These notes in Classical Harmony or Traditional Harmony are called voice leading.
harmonics. At Berklee, we call them guide tones. And we use them to help emphasize the
changes in harmony. So we are always searching for where they are
strong notes where the notes guide towards the next chord. They are called
guide notes.

4.1.2. Guide notes

When there is a series of guiding tones in a row, we call it a 'guiding line'.
or guide tone line. And they are very useful for the improviser.

They are especially useful when we have changes that move at a very fast pace.
Let's say that every two measures there is a new chord change. You have a
according to one second and a half to play something in that chord, each individual chord.
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We adopted the conventional approach of having the chord structure and having the scale.
of chords that we can play. There is no time to create a melodic phrase.
Complete each of these very short chords. We need a way to see them.
in a different way to play more melodically and have more continuity. And it is here
we introduce the guidelines.

So, the official definition of a guideline is a line that moves like a

scale in half steps or whole steps. And each note of that scale is a tone of
chords in their respective chord. So do you hear it? Do you see how it moves in media
tones and complete tones like a scale? And each of these notes is a tone of
chords in their respective harmonies in this song.

So, here we see it. Look at the chord symbols and every time you see a symbol
with a substitute bass note. Let's say it is C seventh flat ninth and that the
line below and then Sol. That means C seventh 9th flat with G and the bass. Must
estar pensando que estas son instrucciones para un bajista, para Sol. Pero son
Instructions for everyone that a guiding line is being used. There is an alternative.
which could not be a guideline, and it's easy to distinguish. And it would be the case of a pedal. If
he/she had not heard this phrase before this is a pedal. If there is a baseline, the notes of the
graves remain the same and the harmony above them changes.

Very well. That is a pedal. It holds the note of the bass. But in the case of a line
The guide notes of the bass of the chord symbols create a kind of line.
similar to a scale and that is our guideline. That is the first place that should be
search, in the notes of the bass. If you find a guiding line there, then almost
There is always a second guiding line to choose from which initiates a third one along the line.
of the graves. Do you hear it? Again, it moves like a scale but each note is
a chord tone in its respective harmony.

Now we have two possibilities for the guide tone lines in this progression.
There is a third one. In reality, there are usually one or two, the third one is a bit unusual.
But this song has one. It can go up or down. This one goes up, it starts on B.

So I have three in total. So I have these lines that move along

the changes, and now we will talk about how to use them in a solo passage.

4.1.3. How to use guide note lines

Well, let's see how to use these guidelines now that we have found them.

The first thing you should do is simply get familiar with the sound of the line and
how the notes move. So, as you play the changes, play, follow it, just
play in semitones. And listen to its sound.

Then start to beautify it a bit by making some rhythmic variations.

using the line. Well, it starts to sound as if it were playing a solo passage.

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This is the second line. I am adding a little chromatic movement here and there,
filling it, changing the rhythm, transforming it into small melodic phrases. Now
Here comes the interesting part. These lines are so strong and so basic for the flow of the
harmony that are very interchangeable.

I can start my solo passage on this line and switch to the next one. And I can go towards
back and forth between line one or line two or line three. In the middle of the
progression. It doesn't matter. I can also change the octave. Now it sounds like it's
I was making a solo passage. But I am still focused on these guidelines. And
I can mix them, interchange octaves, alternate them. And this offers me a lot.

Now it sounds like I am doing a solo passage. And in a way, it is.

But instead of thinking about the individual chord and scale, I think more about this, these lines.
as a guide they carry me through these changes much more easily. So
we saw the guidelines.

Let's consider another way of thinking about harmonies, and we call that 'scale.'
common. In some cases, you will find several bars, several chords in a row that
They all share the same scale. Let's say it's D minor seventh, G seventh, C.
seventh, A minor seventh, F major seventh. There are five chords in a row and all
they share the same grades.

So we have the option to define each one individually. But also

We have the option of thinking about it as a large group that shares the same scale.
One of the things we do a lot in improvisation is to group the changes together.
in larger units, so that we can touch on longer melodic themes, phrases
longer.

So the guidelines help us navigate changes that have a lot

movement and to solve and change, for example. Common scales help us to play
in an area that shares the same scales, then we change our minds and
We say: "I think I have a scale that I need to work on." Now I will think about that.
while I play the solo passage. These are two of the most common ways to manage
the harmonies as an improviser and we will see some more.

4.1.4. Harmonic motion

Although there are different types of harmonic movements, many times the way in which the
that the chords move even suggests a type of physical direction that things
they are moving. Up, down, sideways, etc. This suggestion is there in the form
in which the harmonies move. And each type of resolution has its own characteristic
recognizable.

Let's take, for example, the very common 5,1. But if we use the substitute dominant, it is
practically the same thing. But we do My seventh. See how different it sounds.
There is a chromatic movement. It is even easier to distinguish it as unique. That is a
chromatic movement from below, ascending to the chord.

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So, each type of chord movement suggests a unique identity. In fact,

when I come across a chord movement that ascends, which is not so common, already
that the resolutions of chords seem to decrease, I generally try to bring this
ascending suggestion when I touch.

I can play a line that ascends in that harmony just to help the listener grasp it.
movement. So, there are two more types of movements and chord situations that
you will find the improviser and that you should know.

One of them is called constant structure. In this case, the type of chord
remains the same. It does not go from a dominant 7 to a 1 chord or to a minor one. They are all
the same. Let's say it's a major seventh chord. You can hear that they are all
major seventh chords, which only change places on the keyboard, but are all the same
same type of chord. The structure remains the same, and from which the name comes,
constant structure. And the interesting thing about the constant structure besides the fact
it has a unique sound, harmonically it doesn't sound like the type of changes of
resolution that we hear most often.

But in the constant structure, because the chords are identical, in that case,
all major seventh chords, any phrase. Any melodic phrase that I use in
a chord that can play the rest, only transposing to each new harmony, because
the chords will be the same.

Regarding the concept of constant structure, let's see when the chords move.
chromatically. Again, it is a type of movement that is very recognizable for
our ears, for the ear of the listener. The chromatic movement has its own
character. And it is a k, a form of constant structure. Because it knows that the chords
they are all the same, in this case, dominant seventh chords that descend.
Entonces usted puede hacer lo mismo. Cada frase melódica puede repetirse
simply lowering it half a tone and so on. Also, there is something else that
We must know about this, the world of chromatics.

This is one of the pieces of advice I always give to students. And I have a saying: the
Chromaticism is the improviser's best friend. And I say this because being able to play
Chromatically it helps us to smooth out difficult parts in our melodic lines.

For example, let's say we are playing in B flat seventh and we want to go to E.
flat at the beginning of the following chord, from the E flat chord towards which we are heading. And
I want, I imagine playing stable eighth notes, just up to that note. But what happens
If I approach and I don't have enough credits or I have too many credits? What do I do? And
that’s when the chromatic notes help me because I don’t want to get to that too much
early or too late. I want it to be in the accented beat. Then I can
convert it into a chromatic line that is too early or too late. I want
Let it be in the accented beat. Then I can turn it into a chromatic line.

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If you add chromatic notes, it will turn into a chromatic line. As I

I approach the note, I want to land on it. So it helps me land on the beat.
correct, with the strong note. That’s why we use chromatic notes that way, to
help us to improvise.

We also use them sometimes to add interest. Let's say we are playing a
long passage with a single chord. It's D minor. I want to continue and continue for 8 bars, maybe.
16. Well, after a while our scale starts to sound repetitive and boring.
So, we could add other notes to break it up and add some color to it.

Good. I'm still in D minor and I'm adding some of these chromatic notes. This adds up.
color and does not clash with E minor, but rather makes it more interesting. This is something more than
the chromatic line does for us what chromaticism does for us. Not only
it helps us to smooth our melodic lines. It also helps us to make it be
Interesting. So as I gain more experience with the use of chromaticism
You will see that it is a smart tool.

Today we saw several ways to handle harmony as improvisers. The guidelines and the
guide tones. Another is the common scales where the chords share a scale
common. Third, the constant structure, where all the chords are of the
same type. And the chromatic movement, where all the chords move
chromatically.

4.2. How to use guide note lines

For this week, we have another two-part assignment.

First download the PDF file of the song Memories Of Tomorrow by Keith Jarrett.
And I want you to fill in certain information on the score just like last time. First
Write which scale belongs to each measure. Then, see if you can identify.
What is happening in the song: Are there sections that are enhancing the guide tones?
Are there sections that use a common scale? What compositional elements are being used?
Keith Jarrett in this song?

Draw a bracket: for example, these four measures use guide tones, and these two
meters use a common scale, and in these meters we have guide tones
again. Etc.

Look at everything you can identify. And if there are guiding tone phrases, write them down in the
score, on the second staff. And if you have a common scale, write it down and show it.
that lasts several measures. So do this for the song and then practice playing it.

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Download the track of Memories Of Tomorrow. Grab your instrument and record yourself.
improvising in this song as well.

I am going to mention something that I haven't talked about yet but you will find it. As soon as
as you start to analyze Keith's song, in the first measures the chords
basics remain the same but there is a phrase moving in the chord. The second

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A chord is a minor chord with a major seventh. That chord uses a scale that
We haven't studied it yet since it's not very common.

It is not one of the ten common scales. It is the melodic minor scale. I did not want to.
confusing them too much when seeing that chord and wondering what they should use here.
It is the melodic minor scale. Is that right?

So, apart from that, you should understand Keith's song quite well and
enjoy touching it. So that is your task for this week.

For this week's assignment, you must download the accompanying MP3 track and
record yourself playing the melody and improvising.

Download the MP3 backing track of "Memories of Tomorrow"

Download the MP3 backing track of "Memories of Tomorrow" (version without
piano

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5. WEEK 5

5.1. Theme and Variation

5.1.1. Theme
This is week 5 and at the beginning of the course, I talked a bit about the comparison of
talks with improvisation. They share many of the same functions, and it is a good
comparison to make. Every time you ask yourself how something is supposed to
function, think about how it works in the language and you will have a very good idea.
We start by talking about the vocabulary of the musician, which includes scales, chords, and
others. And then we talked about the grammar of the improviser, which is harmony, the form
in which the chords move from one to another.

Now, these two areas of skill become automated the more experience you have.
usándolos. Y eventualmente no pensarás en las escalas o los movimientos de la armonía
and so on, just like when you think of nouns or verbs when you speak in sentences.
It's something we will do automatically and instinctively after having
assimilated the information and having become accustomed to doing it.

So that raises the question, well, what do we think about while we are playing?
And here is where the interesting part comes, we want to tell stories, we want to
explain what we do. We want to tell people about this song that we are
touching and why we like it, what is interesting about it.

So, think about how an explanation is carried out when you talk to someone. The
the first sentence you say introduces the topic, the following sentence adds something more.
information and the following sentence adds even more information, and you have finally said
everything you have to say on the subject and you have made your point and you have finished with
that explanation.

A good story follows the same approach. That is to say, there is an introduction that announces
What the story is about, and then the story takes you on a kind of journey through several
activities, and various things that ultimately conclude with the story completed when
you reach the end. That is what we want to do musically. And we do this using a
a well-established technique in music called theme and variations.

5.1.2. The development of a story

Let's see what motivates someone to listen to music. The listener wants to experience
a pleasant feeling, the pulse of the music, the rhythm. Whether it's swing, straight eight, or a ballad,
this is one of the elements that the listener seeks.

Also look for a pleasant and rich sound, chords, chord progressions, the sounds.
They must be pleasant and interesting. There should be a type of story that moves through
the song gives the listener something to follow in addition to sounding nice and being able to keep up
the rhythm with the foot, we need more content than the basics. It's about creating a story
interesting and clear for the listener to follow us.
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But if we touch on a story that stops and starts again and is confusing, the
listeners will stop following you. They can enjoy the feel of the music, or follow the rhythm
with the foot. But they are not so focused on what you touch. In that case, what happens
you reach the third chorus of the solo in a great creative moment that only
It happens once a night. They won't be there to notice it because the audience has already left.
listening to you play, they are enjoying the atmosphere of the music that is playing.

It is important that your voice is clear and that the audience is able to follow it.

5.1.3. Characteristics of a melodic form

Well, let's talk about this topic with the concept of variation. There are three characteristics of
each melodic theme.

First, we have a rhythm of four eighth notes in this case. There is a melodic form of
a certain type in the notes. In this case, it is a descending arpeggio. It can be the same rhythm.
but I get different notes and a very different character if I play those notes. But instead of that
I chose. Is that alright? This is the second characteristic, the melodic form.

The third characteristic suggests a harmony. In this case, a major seventh chord.
and major seventh E flat, to be precise. So we have this theme. And our
The task is to repeat it. And repeat it and repeat it. And while we repeat it, we make variations.
We change it to make it interesting and the listener starts to follow it and says: 'I
I ask what he will do now. How will he play next time?

You will see me doing all this just in this chord. I change it in a variety of ways.
different. How long should this be done to establish a theme and for the
listener I identified and observed that it goes somewhere, what develops? Well, it touches you.
once and no one will identify it as a theme. If they touch it a second time, perhaps they will believe
that they have heard before. It must be something that is being focused on. But the
third time, yes.

People will definitely notice at that moment that you are working with
a certain melodic idea. But once I establish it, I will have to use it for a while
to truly feel that a small journey is created that the listener must follow. Many
Sometimes when I hear my students improvise, I see that they play very brief developments.
in their themes. They touch on it once or twice and barely establish it before moving on.
quickly to something different. The listeners do not have enough time to
understand it and follow it. It's almost like listening to someone talk and that in each sentence
start with a new topic And after a few minutes you wonder what it is about
Talking, I can't keep up with it. This can have a length of 8 measures 16 measures.
It can be an entire chorus of a song. And in some cases, there are examples that I can
to have the people play a complete solo passage based on a theme in the
that continue to work. It is not necessary for you to take it to that length every time you
touch but keep in mind that it should last long enough for people to realize
he/she mentions that he/she is working on a topic. And you do things with that, that's when
creativity appears for the listener.

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5.1.4. Variation
Before, he/she heard me play in harmony while keeping my idea active. Let's see with
more detail on some of the possibilities for making the variations.

This is the original sentence. You can reverse it. You can change, switch to a different investment.
in the same chord. You can play it faster or slower. You can stretch it. You can
to beautify it. These are just a few of the possibilities.

As you can see, more and more ideas can come to mind while continuing to maintain the character.
from the original theme. Now we must take a step further. It is quite easy to do it in a
scale of 1 chord or in a structure of 1 chord without anything changing. In fact,
When you try it, you will find that it is quite easy. It gets harder when you touch one.
song and change the harmony in each measure, for example. Because to continue
using your theme, you will have to change it to match the new chord. I will play a
song and I will use my theme.

But, as long as I play the song and the chords change, I will have to adjust my theme of four.
Notes to adapt to each harmony. Let's see.

Well, there is a complete chorus, 32 bars of the song. And I hope it has been able to
follow my development, that he/she realized that I was still using my original theme
while playing the song doing as many creative and interesting things as possible. I used
all the intervals of my instrument and I changed it a lot. If I had believed that I
I would have restored it very soon so that the listeners
remember that we are listening to the same theme. The listener likes to be able to follow that
type of improvisation.

5.1.5. Simple sentences

Let's talk for a minute about how phrases work in discourse. Because
we need to use the same concept when we make melodic phrases.

Phrases have a purpose, to help us understand the information we are.

listening. That is, a phrase lasts a certain period of time and then it
stop. And there is a space before the next sentence. Well, that space allows for
listener to have more or less a second to assimilate what they have just heard. And
prepare yourself for the following information that comes in the next sentence. This is how
we keep our conversation, in some way, organized. And we need to do
the same when we improvise.

If we play too continuously, the listener cannot assimilate it and keep up with the rhythm.
about what is happening. They need spaces between the melodic phrases. The
wind instruments, wind instrumentalists have it easy because they have
They need to leave spaces naturally. They have to breathe. Thus, they play a phrase.
melodic, stop to breathe, they start another one and so on, that is what happens
When we talk. We are always leaving gaps because we need to breathe.
also while we talk.

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But if you play the piano, vibraphone, guitar, etc., then you have to remember,
intentionally, to touch on phrases. And doing that does not necessarily come in one way.
natural. When I play, honestly, I often imagine the way I would play
the trumpeter. When I am playing a line, I can think, I can really
imagine a trumpet playing this line, or a saxophone. And that helps me to have a
idea of how to phrase it, how to create the dynamics, and how long it can be
before I need to rest for a second, before continuing with another sentence.

Well, like sentences, melodic phrases do not all have the same duration.
Some are short, others are long. The same goes for the spaces between them. Some are
short ones, others long ones, depending on how dramatic the phrase was or how short or long it was, and
etc. We developed a sense, quite quickly once we started to think about
about how to adjust our melodic phrasing.

So, think of phrases and make sure you are playing in the phrase-like form when
improvises.

5.1.6. How to analyze songs

Well, we have covered the fundamentals of improvisation vocabulary, chords and
scales, grammar, the way harmony moves, content, the stories that
we rely on our improvisation. Now we are going to focus our attention on the
songs that we play. These are important, we do not choose them lightly, they
we choose because we personally like something about the song and we want
show it to the listener.

In the same way, you could do the same if you have a visitor coming to your house.
To see your new house, for example, you could have them walk and show them the view from
the garden window. Then take them to the new kitchen and show them this elegant
new refrigerator that you bought and so on.

Well, we want to do the same with the songs we play. There are elements in
the song, which the composer uses to create it. For example, we might want to
show them in the first section of the song that there are guides that dominate the music, and
that in the second section chromatic changes of chords are occurring. That is the
a class of things that we want to teach the listener. Just like we would show the house to
Someone. We want to help them understand what is happening in this
composition, even if they do not literally understand what a guide is to us
we want you to listen to her and understand that she is an important element in the
song. There is another element in the composition of songs.

The composer is not only using compositional techniques, there is also something that
you could call it mood or character that each song has. It's a kind of
comparison with what an actor does when taking on a new role. Perhaps in the role
you have to interpret a witty, sophisticated, fun character that is very
energetic and full of laughs. Then in next week's paper you can interpret.
a sad, melancholic character who has many problems, so the actor tries to

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stay in character. During the performance of each role, it ensures that the
the character's mood and feelings reach the audience. So that
we do the same with the song, each song has some mood and certain
personality.

It can be a type of bright, fast, danceable piece; it can be a calm piece.

beautiful, or a dark, sad, and minor piece. Every song you perform will have a
you will want to consciously know what it is and you will say, very well, my job
It is to show this song to the listener. I am going to show the listener the elements.
compositional elements in it and I also need to show her the mood she is in
the piece, how it feels. And, that's something that, you know, I try to stay in the
character, just as an actor tries to maintain their character when they are
playing a role.

I try to stay in character with the song, not just by playing the melody or the
chorus but also when I improvise in it. So, let's take a look at a song,
this was written by a friend of mine, the composer Carla, it is called Cat Eyes. This
it means cat's eyes. And we are going to walk through this song. I am going to play on the piano
And I will talk about the different elements of the song. So when we have
done with her, we will have many things at our disposal, things that with the
What can we tell.

When we play this song, we try to sell it to the listener who will hear us play.
Voy a tocar la canción de Carla, Ojos de Gato, y la primera vez solo la tocaré de corrido.
And we are going to have a general perception of what type of song it is, what the atmosphere is.
suggest. Here it goes.

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Okay, let's draw some conclusions. It's a short work, and it has a very simple
melodic motif, which repeats throughout the song. It is slow, uses straight eighth notes.
a bossa nova vibe. As for the atmosphere, it is somewhat melancholic and sad.

The first half is in minor which I think is a useful description of the song.
to keep playing on it. The next thing we need to do is look at the scales

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from the chords, make sure which scales we are supposed to use over these
chords. In fact, we have a question right here in the first chord, because
Normally, in the A minor chord, we should see what is happening with the sixth.

Is it a major sixth? Or is it a minor sixth? And it turns out we have both in music.
So we must decide which is the most important. Is it perhaps the natural Fa? Or is it
F sharp? One piece of advice is that the F lasts only one beat, but the F sharp
extend for two complete measures. That suggests to me that F sharp is the note
What we are looking for. So we will use the Dorian scale over that minor chord.

Then we have a F major. The question is, do we need the Lydian scale with a B natural or
B flat major with B flat. There is a natural B in the previous scale. That will be transferred to the chord.
F major and its scale will be Lydian.
When we reach the B flat chord over A, it is again Lydian with the fourth.
increased in the melody. Right?

Now we have arrived at another unusual situation. Look at the harmony first. It is a D minor.
with a 7 greater. Here we have one of those scales that doesn't happen very often.
frequency, the melodic minor. It is not as common as the ten common scales that
we cover during the second week, but it occurs occasionally.

Well, that is the chord, but meanwhile there is something different in the melody. She has them
ingenious to put a major third in a minor chord in the melody. We accept
it sounds rough, but we also accept that it is not a wrong note because we
we have gotten used to this pattern in the melody.

You see, since we have gotten used to it, even when something sounds harsh, we say
Very well, we had already heard this before. We know that this is what is supposed to
It will happen here. So, this is the scale of the chord, it will be D minor melodic.

Now, we switch to Do flat 7 sharp 9 over Si flat. What does it sound like to you? It sounds like a
diminished chord, very obviously, and if you look at the notes of the scale, in the chord, and the
notes in the previous chord you will realize that we want to use the symmetric scale
decreased because we have an A natural here that continues in the next chord.
So, it will be D flat 7 flat 9 over B flat with altered symmetric scale.

Then, we go to a C major over B flat. We quickly see that the natural F is the
augmented fourth. Which makes it Lydian. The same applies to this one. Again,
tenemos Lidio. Cuarta aumentada en la melodía, e inclusive en el último compás de Si
B flat major. It is Lydian again. So those are the scales of this song.

Now we want to determine how the song is structured, what the

sections. It is structured in phrases of 4 or 8 measures. What is happening
compositively? I am going to play it completely and you try to determine how long it is.
first section, second section, and so on. How is it structured? Here we go.

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What do you think? How long is the first section of the song? For me, the answer is
8 measures. Usually the sections represent a chord progression that
it progresses and reaches a break, then it feels like we are starting something
new.
Well, this section can be a 2-bar phrase, a 4-bar phrase, an 8-bar phrase,
almost always in even number of measures. Occasionally, you will find a phrase of
3 measures or one of 5 measures. But most of the time, they are even numbers. 2, 4
8. In this case, the 8 measures seem to go together. And now let's see what's happening.
there.
First of all, there is a pedal note. That is something we realize in the
composition. There is a pedal note A for the full eight measures. Also
let's see how the scales change from one chord to the next. The first one, A minor
Dorian. When it goes to the Lydian F, there is only one note that changes. The F sharp becomes
in F natural. and then when we go to B flat Lydian, again, only one note changes
The natural Si goes to Si flat. And then we have this melodic minor scale to conclude the
progression. So, that's what is happening, those are the main things that
we can highlight during the first 8 measures of the song.

In the following section, we also have 8 measures. We also have a note.

pedal. Once again, we have a pedal note that is characteristic. And now we have
chords of major sound. instead of minor. Now we have this sound and then
we have a major Si. It's a major sound, brighter. in this section that we
drive back to the beginning. To go back to lower. So we have a lot
what to work on in this song when we are in front of a band and we are going to
improvise on this song.

There are many compositional elements that we can highlight and of course that
we want to highlight the overall atmosphere and style of the work. We will play melodies
simple that are singable, leave a lot of space between the phrases, just like Carla Bley does.
he did with the melody when she wrote the song.

5.1.7. Conclusion
Very well, this is the last lesson of the course. Thank you very much to all those who have
remained throughout it. I hope you have learned and enjoyed a lot. Also
I hope you found the interaction with your fellow students useful.
during the course. I think we can say that given all the things we have covered
In the course, they will have plenty to keep them busy in the coming months, as...
who continue developing their skills as improvisers. For now, I wish them
the best with your music and if I ever get to play in your area in the future, come up and
Hello. Until then, goodbye!

5.2. Practical theme and variation

Okay, here we have the assignment for this week. We have covered two topics today, so
There will be a task corresponding to each topic.

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The first is about developing a motive. I hope you have been practicing.
in a single chord. To understand what it means to keep repeating a motif
and develop it. I want you to show me an example of thematic development in a blues.
So, upload a PDF document of the chord changes for this blues song,
and also, touch on the track that I have created. And show me your ability to develop
a reason.

This is a 12-bar blues. If you can maintain the motif for the 12 bars.
Complete before starting a new reason would be very good. If you can continue
even more time is even better. But at least, you should be able to make it last 12
you compose your first motif before switching to a new set of melodies.
So, that is the first part of the task.

Part two, download the sheet music of Olhos de Gato, the song by Carla Bley, and play over it.
the track of this song. We have talked about it and analyzed it. There is no reason
for which you can't play it now. So take your instrument and record yourself playing it
song. Play a round of melody and then improvise over the following rounds. E
try to highlight the compositional elements of the song, and also try to capture the
atmosphere that this work has.

The simple melodic lines, the calm minor atmosphere it conveys. Look at how
Well, you can capture what Carlette meant to say with this song. So this is the
assignment for this week.

For this week's task, you must download the basic sheet music of 'Blues' and
"Cat Eyes". Write the chord scales for each measure. Identify the
composition elements for each part of the song and write the note lines of
common guidelines or scales that I find.

Download the basic sheet music of 'Blues'

Download the basic sheet music for 'Olhos De Gato'

Download the MP3 accompaniment track and record yourself playing the melody.
improvising.

Descargar la pista MP3 de acompañamiento de "Blues"

Download the MP3 accompaniment track of "Blues" (piano-less version)
Download the MP3 backing track of 'Olhos De Gato'
Download the MP3 accompaniment track of 'Olhos De Gato' (piano-free version)

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