Jazzin The Blues.pdf

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Creating Scales
BY JANE GETTER
ONE WAY TO DEVELOP A UNIQUE SOLOING
voice is to invent your own scales. You can use them for
improvising, honing your chops, learning the fretboard,
and warming up your ears and fingers.
Scale construction. When building a scale, use at least
five notes. (Your creation will sound more like a lick than
a scale with less than five tones.) For instance, Ex. 1 is
a seven-note scale I created in the key of A . Its formula
is root,
b
3,
n
3,
b
5,
n
5,
b
7, and
n
7. I’ve always liked the
Ex. 1
=========== =
w
w w
#
b
w
n
w
w w
#
w
b
n
b
n
b
n
R 3 3 5 5 7 7 R
T
A
B
5 3 4 6 7
5 6
7
Ex. 2
ö ö
#
ö ön ö# ö ön ö
3 2
1
#
ö ön ö
#
4
b
ö
ö ö
n
2 2
1
n
ö ö
#
4
n
ö
#
ö
ö ö# ö ön# ö
=======================
&
öbö
n
ö öbö
n
(
)
ö ö
#
ö
1
2
3 1
2
3
4
4
4
1
2
1
3
8 8
9
9
10 10
8 8
9
9
T
A
B
7 6 6
5
8 8
5
6 9 9
6 5 5
6
7
3
4
6
7 7
4
5
Ex. 3
Am7 or A7
4 4ö ö
ö ö#ö
n
ö ö
#
ö
n
ö
=========== =
ö ö ö# ö
n
2
1
ö
1 3
2 1
3
3
b
b
n
b
n
b b
n
b
7 R 3 3 3 R 7 3 7 5 3 3 R
T
B
5 7 5 5
6 7
6
5
5
7 4
3
5
Ex. 4
Am7
D7
Gmaj7
ö
4
1
1
ö ö
b
4
2
#
ö
n
ö
ö ö ö
ö ö
#
3
n
ö
ö ö
#
n
ö
b
2
ö
1
======================
1
3
1
T
A
B
5
5
8
6
5 5
6 6 6
7
7 5 5
6
4
7 7
140 GUITAR PLAYER AUGUST 1999
“Melodies, chords, and scales are all part of my music, but they are not the most important things.” —Egberto Gismonti, Nov. ’78 GP
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sound of playing unexpected passing tones
against the background harmony. In this
case, playing a
b
3 over a dominant 7 (1, 3,
Use alternate picking throughout. For ac-
curacy, keep time with a metronome. Start
slow, then gradually increase the tempo.
This scale lets you craft a line that works
over Am7 or A7 ( Ex. 3 ). I use this scale main-
ly on single-chord vamps, but it’s also useful
for giving a more “out” sound to standard
progressions, such as Ex. 4 ’s Am7-D7-Gmaj7
(IIm7-V7-Imaj7) cadence.
Tips. After you’ve forged a scale of your
own:
• Play the scale tones ascending and de-
scending in sequence.
• Set up melodic patterns to help syn-
chronize your ears and fingers.
• Experiment with your scale over dif-
ferent chords—don’t be afraid to try uncon-
ventional combinations.
5,
b
7), a
n
3 over a minor chord (1,
b
3, 5), and
7 over a dominant 7 or a minor 7 (1,
b
3,
g
7) produces a tart minor second be-
tween the melody and its closest chord
tone. For a little more edge, I included a
b
b
5
New Yorker Jane Getter has performed
and recorded with many stellar jazz mu-
sicians, including organist Jack McDuff,
trombonist Slide Hampton, violinist Michal
Urbank, and pianists Richie Bierach and
Kenny Barron. Hear Getter burn on her
new solo album, Jane [Lipstick Records].
in this scale.
Playing patterns. I like to familiarize my-
self with a new scale by playing patterns,
as in Ex. 2 . Once you’ve mastered the as-
cending pattern, play it descending as well.
n
5,
Nailing the V7
BY GREG COOPER
OFFERING TENSION AND RESOLUTION,
the V 7-I cadence is an essential harmonic move
in traditional jazz. When soloing over the V 7,
it’s fun to increase a dominant-7th chord’s in-
herent tension by including altered tones in
your lines. This way, the resolution to I is even
more pronounced.
Here are three ideas for spicing up the dom-
inant-7th portion of a V 7-I cadence. We’ll ex-
plore these techniques in the key of C , using
G7 (V 7) and Cmaj7 (Imaj7) as the background
harmony. Once you’ve mastered each line, be
Ex. 1
G7 alt
Cmaj7
ö ö ö ö ö
4
3 3
1
4
1
b ö
b
3 3
sure to transpose it to other keys. To sharpen
your picking chops, play these examples using
all downstrokes, then all upstrokes, and finally
with strict alternate picking.
Whole-tone spice. In Ex. 1 , play a descend-
ing G whole-tone scale ( G , A, B , D
2
ö ö ö ö ö
ö
==================
n
w
3
1
4
2
3
1
1 2
4
, F ) against
G7 . We start on the G7 ’s 3 ( B ) and end with a C
arpeggio resolving to Cmaj7 ’s root. This whole-
tone scale includes three V7 chord tones (root,
3, and
b
, E
b
12
12
10
10
13
T
A
B
11
9
12
10
8
7
10
8
b
7), two altered tones (
b
5 and
#
5), and
Ex. 2
G7 alt
Cmaj7
one extension (9).
Half-whole motions. Ex. 2 features a de-
scending G altered scale ( G , A
ö ö
b
4 3
1
ö ö
b ö
1
b ö ö ö önö
4
3 4
4
b
,
E , F ). Notice how this scale consists of alternating
half- and whole-steps. Also called a half-whole
scale, the altered scale includes all four V7 chord
tones (root, 3, 5,
b
, B
b
, B
n
, D
b
, D
n
1
2
1
önö
b
b
ö
4
ö
w
==================
3
1
1
10 7
9
6
9
b
7), three altered tones (
b
5,
b
9,
8
6
9
9), and one extension (13).
Augmented fretting. Consisting of an as-
cending augmented pattern that repeats every
whole-step, Ex. 3 uses notes from a G whole-
tone scale. Start on D
#
A
B
7
6
9
8
6
5
Ex. 3
G7 alt
Cmaj7
5—and work your
way up the neck using a fixed grip, as shown.
These examples briefly take you outside the
key. Try generating your own lines from whole-
tone and altered scales. With a little effort, you
can stretch your fingers and ears.
b
—G7’s
b
ö w
ö ö
ö ö
ö
ö ö
ö
1
2
1
1
b
ö
1
1
ö
4
b
1
ö
1
1
2
2
2
2
==================
g
T
A
B
6 6
6
7
8 8
8
9 10
10
11 12
10
12
13
12
13
Greg Cooper has studied with Ted Greene,
Jimmy Wyble, and Phil Upchurch. Cooper per-
forms and teaches in the San Francisco area.
142 GUITAR PLAYER AUGUST 1999
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FLASHBACK : APRIL ’67 & JULY ’74
Bola Sete on
Fingerpicking
& Hybrid
Instruments
“I PLUCK STRINGS USING A COMBINATION OF
fingertip and fingernail. Contrary to the way traditional classi-
cal guitar is taught, speed can be gained when the string is
picked without follow through. I can play much faster using
this picking technique.
“I play the same guitar in concert as in the studio. It was
made in 1969 by Mario Martello of Concord, California. It’s a
classical guitar with a piece of plastic on the top, as if it were a
flamenco guitar. Sometimes I tune my sixth string to D and
my fifth string to G . For some tunes, I tune my sixth string to
F , or my fifth to G and my first to D .
“In 1971, I recorded Shebaba , an album inspired by the
folk music of Brazil—songs I heard played in the street fairs. I
played the ‘lutar,’ which is my own name for the instrument I
designed based on an old Brazilian folk instrument called the
alaude . The alaude has ten strings grouped in five sets of dou-
ble strings. My lutar has 13 strings—six sets of double strings
and a single string.” g
Lick of the Month
ZIPPY TRIPLETS
OUR AUGUST LICK COMES FROM
Jason Rosen of Remich, Luxembourg. He
writes, “This lick is cool because it will
help you develop speed picking. Carefully
follow the picking indications—play each
triplet using downstroke, downstroke,
upstroke. For extra drive, palm-mute the
sixth and fifth strings, and accent the first
note in each beat.”
The consecutive downstrokes occur
when you play adjacent strings. This
economy of motion promotes clean,
quick picking. The repeating four-bar
phrase sounds great with some slow, res-
onant flange. g
ö
= 108-138
³³ ²
B
b
B°
C
Em
B
b
Dm
C
sim.
4
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
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==================================
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5
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3
Send us your candidate for Lick of the Month
(preferably notated and on cassette), along with
a brief explanation of why it’s cool and how to
play it. If we select your offering, you’ll get a funky
custom T-shirt that’s available only to Lick of the
Month club members. Mail your entry to Lick
of the Month, Guitar Player , 411 Borel Ave. #100,
San Mateo, CA 94402. Include your name, ad-
dress, and phone number. Materials won’t be re-
turned, and please don’t call the office to check
the status of your submission. You’ll get your shirt
if your lick is chosen.
AUGUST 1999 GUITAR PLAYER 143
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BACK TRACK
Jazzin’ the Blues
BY ANDY ELLIS
The Cycle Chart
C
F
G
STARTING WITH THE JAN.
’99 issue, we’ve explored a variety
of topics (many of which were
prompted by readers’ suggestions),
including playing major scales,
mapping triads, linking arpeggios,
morphing major-7th chords, and
generating open voicings. This
time, thanks to Brock Whatley of
Longview, Texas, we’ll examine a
few easy ways to spice up the har-
mony in a 12-bar blues progres-
sion. He writes, “I’d like to see you
cover harmony and progressions.
Can you help us build bluesy har-
mony that sounds a little jazzy?”
There are many ways to add
chords to a blues without spoiling
its essential character. This lesson’s
12-bar blues in F ( Ex. 1 ) incorpo-
rates three techniques that you can
use individually or in combination.
First, let’s agree on the struc-
ture of a standard 12-bar blues. It
helps to think of a blues progres-
sion as composed of three sets of
four-bar phrases. Perhaps the most
popular scheme looks like this:
I7-IV7-I7-I7
IV7-IV7-I7-I7
V7-IV7-I7-V7
So far, so good. Now let’s hot-
rod this harmony.
The # IVdim7 to I7 move. To
add cool color to a IV7, simply
raise its root a half-step. This cre-
ates a diminished-7th passing
chord that works nicely to draw
the ear back to the I7. The
B b
4 ths
5 ths
D
E b
A
A b
E
IVdim7
appears twice in this progres-
sion—in the second half of bar 2
and throughout bar 6.
The IIm7-V7 to IV7 move. This
technique fills bar 4—normally the
second of two I7 measures—with
a splash of tension and release. Hey,
why play F7 for two bars? Boring!
The key here, as with most har-
#
D b
G b
F #
B
monic substitutions, is to look
ahead to the immediate destina-
tion. By working backward from
this arrival point, you can construct
Ex. 1
b
b
Easy swing
F7(I7)
B 7(IV7) B°7
F7(I7)
Cm7
F7
B 7(IV7)
B°7
& b 4
3
1
2
ú
ú
b ú
ú
w
w
3
b ú
3
w
b w
b w
==================================
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1
3
2
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2
1
2
2
1
A
B
.
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7
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7
2
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8
1
8
6
7
F7(I7)
D7(VI7)
G7(II7)
C7(V7)
F7(I7)
C7(V7)
(
w
& b
(
w
n
w
b
w
w
w
==================================
b
w
3
1
2
(
w
3
b w
)
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)
(
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1
1
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1
2
A
B
2
1
1
5
5
4
3
3
3
3
2
1
1
9
8
8
.
144 GUITAR PLAYER AUGUST 1999
“Your enthusiasm can frequently get to the point where you’re overpowering the person you’re playing with.” —David Bromberg, July ’76 GP
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