jazz improv/chord subs. summary

[Johnny StingRay]

OK, this will probably be boring for everyone, but I've been studying jazz improvisation/chord substitution from various sources for many years and to be honest, I couldn't keep all of it straight in my head, let alone put it into practice while I was playing. So I went back through everything I have learned and all the materials I have and came up with this summary on jazz improvisation/chord substitutions:
I. Play arpeggios off of each note of the original chord: examples: Em or G for a Cmaj7; Bm7b5, Dm7, Fmaj for a G7; or what I like to do Emaj, Gmaj, Bmaj for a Cmaj7.....you get the idea. I do this the most and find it creates a lot of stress until it resolves which I think is the essence of improv........creative stress then resolution.
II. Play a diminished off of each note of a 7th chord: examples: Bdim, Ddim, Fdim, for a G7 or where at least two notes of the original and diminished are the same. Or play Carol Kaye's diminished run for a 7th chord or 7b9 chord: G, Ab, Bb, B, Db, D, E, Eb, G for a G7 or G7b9. Also diminished chords repeat and play off each note of any diminished arpeggio, right? Like a Gdim is also a Bbdim is also a Dbdim is also an Edim etc.....right? So any can be subbed for any other.
III. Play an augmented in place of a 7th chord: examples: G+ for a G7. Play an augmented run for a 7th which is actually three augmented triads: original chord is G7, play up, down, up...G, B, D#, E#(F), C#, A, B, D#, G which is actually three augmented triads, G+, A+, B+. And because these repeat doesn't that mean that there are really only TWO augmented arpeggio runs? The other being played one fret above the other?
IV. Pivotal b5s: Play the b5 seventh of the 7th chord: example: for G7 play a Db7. Maybe even playing the b5 of each note of the original 7th chord.....if G7 is G, B, D, F, how about any of these substitutions for the G7: F7 for B, Ab7 for D, B7 for F?????
When I write that the chord is a 7th, I am also referring to any 7th chord with alterations such as sus4ths, 9ths, b9s, or 6ths or 13ths stuff like that.
Now does this make sense or am I just overthinking jazz improvisation/chord substitutions? I can't think fast enough while improvising past these four guidelines. What do you think?
Please critique and comment. I'd appreciate it.
Johnny

[DocBop]

I would say you're over thinking at this point. All those are resources you can use, but get an approach down and making music with it. Before moving on to more.

One teacher I like uses the approach that their are about 100 chords you need to learn as a Jazz improvisor. The 100 comes when you multiple the cords by 12 keys. So you basically take one chord per week and work in on. You play the scale a commonly used scale for that chord. You play the full arpeggio for the chord from root to 13th. Then play the scale in a pattern. Then just sit and improvise using those resources. Do that everyday for a week 15 minutes to an hour if you have the time. Then next week move to another chord of the 100.

There is more to this. You play everything in two octaves so your really have to know the scale, arp's or pattern to do that. Once you have learned a major. minor, and dominant then he has you play the scale, arp, and pattern over a cycle of II-V's or II-V-I's that circles around. For that you give yourself a range or the neck to work in like from nut to 10th fret, or 3rd fret to 15th. That way when playing the cycles you ascend until you get to the upper range then descend to low end of range. But when chord changes you have to use the nearest note of the scale, arp, or pattern. This is a real workout for the mind. Then most important to finish off with some pure improv to try and put that knowledge to use. Maybe even try composing a couple bars of music based on what you practiced.

Now the fun part it will take a couple years to get thru all the chords. Some after they get thru all the chords in one key and have the routine down will start doing two chords a week. Another thing especially if time is tight and only have 10-15 minutes a day to work on this, keep a practice journal. Don't go back to beginning the next day unless you finished the whole process. If you only got thru the scale and arp write it down and pickup from there.

Takes a lot of commitment to do this, but the end result is a fantastic knowledge of the fretboard, great ear for scales and chords, and lots of experience with pure improvisation.

[Johnny StingRay]

Originally Posted by DocBop

I would say you're over thinking at this point. All those are resources you can use, but get an approach down and making music with it. Before moving on to more.

One teacher I like uses the approach that their are about 100 chords you need to learn as a Jazz improvisor. The 100 comes when you multiple the cords by 12 keys. So you basically take one chord per week and work in on. You play the scale a commonly used scale for that chord. You play the full arpeggio for the chord from root to 13th. Then play the scale in a pattern. Then just sit and improvise using those resources. Do that everyday for a week 15 minutes to an hour if you have the time. Then next week move to another chord of the 100.

There is more to this. You play everything in two octaves so your really have to know the scale, arp's or pattern to do that. Once you have learned a major. minor, and dominant then he has you play the scale, arp, and pattern over a cycle of II-V's or II-V-I's that circles around. For that you give yourself a range or the neck to work in like from nut to 10th fret, or 3rd fret to 15th. That way when playing the cycles you ascend until you get to the upper range then descend to low end of range. But when chord changes you have to use the nearest note of the scale, arp, or pattern. This is a real workout for the mind. Then most important to finish off with some pure improv to try and put that knowledge to use. Maybe even try composing a couple bars of music based on what you practiced.

Now the fun part it will take a couple years to get thru all the chords. Some after they get thru all the chords in one key and have the routine down will start doing two chords a week. Another thing especially if time is tight and only have 10-15 minutes a day to work on this, keep a practice journal. Don't go back to beginning the next day unless you finished the whole process. If you only got thru the scale and arp write it down and pickup from there.

Takes a lot of commitment to do this, but the end result is a fantastic knowledge of the fretboard, great ear for scales and chords, and lots of experience with pure improvisation.

Great advice, DocBop!!! Time to get to work!
Johnny

[jaebee]

very nice practice routine docbop.

dont forget to practice intervals as well, ie the chromatic scale.

[Funky Chowder]

Hey Johnny,

I like how you broke things down, and it sounds like a great way to outline some concepts to learn in order to internalize them more naturally when putting them into practice.

I got to bass from guitar (yep, I'm one of those! ), and you might be pass something like this, but sometimes, I try to do the "fall down the stairs and land on your feet" approach. That is, for a given song, I try to play intentionally "wrong" notes that eventually resolve (e.g., coming back on the root on the 1 of the measure). I've often surprised myself by finding out how hard it can be to play the "wrong" notes, and it can sometimes lead to studying other ideas.

Just throwing that out in parallel to what you've already found.

Originally Posted by Johnny StingRay

Or play Carol Kaye's diminished run for a 7th chord or 7b9 chord: G, Ab, Bb, B, Db, D, E, Eb, G for a G7 or G7b9.

I did want to ask though: did you mean Gb/F# instead of Eb in the above run?

[Hoover]

Originally Posted by Funky Chowder

I did want to ask though: did you mean Gb/F# instead of Eb in the above run?

Should be an F natural; it's just a first-order octatonic scale (aka half/whole diminished).

[Funky Chowder]

Originally Posted by Hoover

Should be an F natural; it's just a first-order octatonic scale (aka half/whole diminished).

Ah yes, that makes sense. Thanks!

[Johnny StingRay]

Originally Posted by Funky Chowder

Hey Johnny,

I like how you broke things down, and it sounds like a great way to outline some concepts to learn in order to internalize them more naturally when putting them into practice.

I got to bass from guitar (yep, I'm one of those! ), and you might be pass something like this, but sometimes, I try to do the "fall down the stairs and land on your feet" approach. That is, for a given song, I try to play intentionally "wrong" notes that eventually resolve (e.g., coming back on the root on the 1 of the measure). I've often surprised myself by finding out how hard it can be to play the "wrong" notes, and it can sometimes lead to studying other ideas.

Just throwing that out in parallel to what you've already found.



I did want to ask though: did you mean Gb/F# instead of Eb in the above run?

Yes, I did mean F as Hoover has already stated. Sorry about that.

Great idea about the intentional wrong notes that eventually resolve.......I'll have to give that a try. Cool, I have a lot to work with. Thank you.