Tutorials tagged: “Enclosures”
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Bebop enclosures →
A brief intro to bebop ‘enclosures’, a foundational jazz pattern.
Contains several examples of phrases with enclosures, including a real-world example in the form of four bars from a Keith Jarrett solo.
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Phrygian harmony
The Phrygian chord is a dominant seventh chord with a suspended fourth and flattened ninth. It sounds cool.
The Phrygian chord • Phrygian scale • Triplet 8th note scale • 16th note scale • Examples: iiø7-V7-i in F minor ✕ 2 • Phrygian chord in practice: ‘Auld Flame’ cadence; ‘Dreich’ turnaround • Jamming with the Phrygian chord
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Playing outside the changes →
Playing ‘outside’ or ‘outside the changes’ is a cool sound that builds tension and adds additional interest and excitement to your soloing.
Example 1. Jungle/drum and bass • 2. Chilled Latin • 3. Straight-ahead bebop • Jungle/DnB and chilled Latin backing tracks to jam along to • Exercise 1. Jungle, minor 3rds ascending • 2. Medium swing, major 2nds descending
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Playing outside: Dorian mode exercises
Example exercises of playing outside the changes with the Dorian mode.
The C Dorian scale • Example: 16th notes, inside-outside-inside • 8th notes, chords ascending a semitone every two beats • 8th notes, descending line • 8th note triplets, descending line • Playing against a swing beat, ascending • Playing against a swing beat, descending • Fourths pattern • Fourths pattern: ascending chromatically • Fourths pattern: adding rhythmic interest over a swing beat
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Bebop licks: ii-V7-i (2-5-1): minor key
Some bebop licks for ii-V7-i cadences/chord progressions in the minor key, where the ii is a half-diminished (or minor 7 flat 5) chord.
ii-V7-I in: D minor (184bpm) ✕ 2 • B minor (184bpm) • E minor (190bpm) • G minor (190bpm; lick from Keith Jarrett playing ‘Stella…’) • A minor (147bpm) • C minor (189bpm; lick from Bill Evans’ ‘Bill’s Hit Tune’) • A note about scales and chords
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Mining Bud Powell: an applied analysis →
This tutorial takes eight bars from Bud Powell’s solo on ‘Oblivion’ from The Genius of Bud Powell and works with it in different keys, at different tempos, and in different contexts.
Transposing a few bars of Bud’s solo from E flat major to G major: how I think when transposing, in terms of key, chord progression, and scale degrees • Transposing just a single phrase • Taking phrases and using them in other contexts: in another jazz standard, over a rhythm changes bridge, and in a contemporary jazz context
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Bebop licks: ii-V7-I (2-5-1): major key →
A collection of bebop licks over ii-V7-I cadences in the major key.
ii-V7-I in: F major (198bpm) • F major (140bpm) • F major (200bpm) • E major (184bpm) • B flat major (236bpm) • E flat major (190bpm) • E flat major (Keith Jarrett) (164bpm)