Modal and Chordal Improvisation

[Bassman7PM]

Hey Adam

I've been attempting to understand and incorporate what you've been teaching about Modal and Chordal Improvisation and its really changed the way I play. I think I'm finally getting it but with chordal improv in your youtube video you're using a Cm7 as a root for the BbMaj 7th chord/arpeggios while treating the C as as Dorian. I'm not grasping how this is approached, however when I play this it sounds incredible.

[adamnitti]

hi bassman!

glad to hear that the improv studies are helping you out. basically here is what's happening in the example you cited.... the chord that is being played over is the Cmin7 chord... what i am doing is treating the root of that chord, C, as the second degree in a major scale... in other words, the resulting sound is C dorian. that means that any mode diatonic to the Bb major scale is going to give you that same dorian tonality. taking things a step further, i look at any arpeggio that is harmonized from the Bb major scale as being a improv idea over that same Cmin7 chord. this is what gives this approach such a great sound... instead of just noodling through connected modes that will all essentially sound like runs of C dorian, you play arpeggio tones that are derived from the harmonization of the Bb major scale. in playing this way, it's almost as if you are imposing 'chords over chords', and the resultant intervallic ideas sound way more interesting than if you just were using a single scalar solution.

[ethompson2]

Understanding modes helps out your playing a lot for sure. Gives you many more ideas to choose from and tie together.

[Shiveringbass]

Thanks Adam for that great lesson which is some of the best piece of advice I've received for a long time.


Ludo

[robthegaff]

I think it's a great exercise to run through all the modes of a scale up and down the fingerboard and get comfortable with their positions and sounds, I started doing it in the summer just as a bit of a brainwave to extend my range of playing from one scale (major or minor at the time) and by this stage I nearly have free access around my bass. Modes are Great they impress my drummer as well

[petersenbass]

I had been playing off and on for 11 years when I took some lessons from Adam. He got me started on modes, harmonization, jazz, and some reading.

I've always been a semi-professional player, but now I pay all my bills with music.
Of course some of that is Adam being a great teacher, but from a content prespective,
I feel it was learning how to harmonize modes that improved my playing the fastest.

I was a lightbulb moment for me. Now I can move along the fretboard and actually know where I'm going
Working the modes in intervallic exercises has doubled the ability of my ears. This comes in handy when
playing in Nashville (Number System). I've had to chart out 30 songs I've never played, then perform them
the next day. Hearing interval has sped up my number charting.

www.myspace.com/scottpetersenmusic

[adamnitti]

for those of you interested in pursuing these topics further, i just finished filming for the first of a series of video/dvds covering these topics in detail... i'll be posting more details as we get closer to the release date!!!

[DavcomBass]

Originally Posted by adamnitti

hi bassman!

glad to hear that the improv studies are helping you out. basically here is what's happening in the example you cited.... the chord that is being played over is the Cmin7 chord... what i am doing is treating the root of that chord, C, as the second degree in a major scale... in other words, the resulting sound is C dorian. that means that any mode diatonic to the Bb major scale is going to give you that same dorian tonality. taking things a step further, i look at any arpeggio that is harmonized from the Bb major scale as being a improv idea over that same Cmin7 chord. this is what gives this approach such a great sound... instead of just noodling through connected modes that will all essentially sound like runs of C dorian, you play arpeggio tones that are derived from the harmonization of the Bb major scale. in playing this way, it's almost as if you are imposing 'chords over chords', and the resultant intervallic ideas sound way more interesting than if you just were using a single scalar Osolution.

Wow! You've really said quite abit there. That is alot to think about and very helpful for different ideas in soloing and harmonizing. thank you!