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Jazz Scales
- Thread starter HarleyD
- Start date
Look up melodic minor scale and its modes, great place to start. Also know your major and minor scales and its modes too.
This is not a troll, but I have been answering this question for over 20 years, I'm sure there are sites on dem interwebs, but I always say, Buy this Book:
http://www.jazzbooks.com/mm5/mercha...re_Code=JAJAZZ&Product_Code=JL&Category_Code=
http://www.jazzbooks.com/mm5/mercha...re_Code=JAJAZZ&Product_Code=JL&Category_Code=
- Dec 13, 1999
- 11,737
- 8,947
- 70
- Disclosures
- Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
there are 'things' called bebop scales. David Baker has quite a set of books based on bebop scales . Bert Ligon (and his students) did a lot of work in discerning 3 common patterns of bebop lead instruments with his book(s)
http://www.amazon.com/Connecting-Chords-Linear-Harmony-Jazz/dp/0793561930
a google search for bebop bass lkead right back to talkbass
http://www.talkbass.com/forum/f73/bebop-scales-good-place-start-stay-133311/
http://www.amazon.com/Connecting-Chords-Linear-Harmony-Jazz/dp/0793561930
a google search for bebop bass lkead right back to talkbass
http://www.talkbass.com/forum/f73/bebop-scales-good-place-start-stay-133311/
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Not exactly answering your question but I think it will help a lot. If you are just starting to learn Jazz, as I am, I have a lot more luck with chord tones...not only for walking lines, but for solos as well. This being said, my suggestions is that you know all you arpegios up and down the neck starting in every possible position. I think this will be 10 times more important than learning a few scales.
A big reason is I'm finding a lot of standards modulate and borrow chords from other keys. Sometimes I don't even know what key they go to, if you can work with the chord tones you will always be right. If you are trying to fit a scale to a piece, that scale will change almost every chord change.
A big reason is I'm finding a lot of standards modulate and borrow chords from other keys. Sometimes I don't even know what key they go to, if you can work with the chord tones you will always be right. If you are trying to fit a scale to a piece, that scale will change almost every chord change.
- Jan 12, 2011
- 4,578
- 2,460
- Disclosures
- Artist, Trickfish Amplification Bartolini Emerging Artist, MTD Kingston Emerging Artist. Artist, Tsunami Cables
- Dec 13, 1999
- 11,737
- 8,947
- 70
- Disclosures
- Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
From an Ethan Iverson interview with Fred Hersch -
At 56, I’m part of the last batch that learned in the old way, figuring it out by ****ing up, getting back up on your feet, ****ing up again, getting back up on your feet, hanging out, learning from people around you, listening to tons of records, learning the history of your instrument, learning the repertoire, the standard repertoire, the jazz repertoire, composing your own music, starting all that, as one of the last of that batch. That’s why I have this affinity with Billy Hart, who’s 14 years older than me. I probably have more in common with him than someone 14 years younger, who may be playing everything in 7/4, or writing science project pieces, or tunes with too many chords in them.
I consider myself a very rhythmic player; certainly I’ve earned my stripes in terms of playing rhythm and doing interesting things with time, but I’m also a melodist. Even in my post-bop (or whatever you want to call them) lines, they’re kind of my lines, they’re sort of my shapes, and they’re melodically driven. And hopefully, they follow consecutively from what happened the phrase before. It’s not like I ever practice patterns or altered scales, or any of that other Jazz information stuff.
At 56, I’m part of the last batch that learned in the old way, figuring it out by ****ing up, getting back up on your feet, ****ing up again, getting back up on your feet, hanging out, learning from people around you, listening to tons of records, learning the history of your instrument, learning the repertoire, the standard repertoire, the jazz repertoire, composing your own music, starting all that, as one of the last of that batch. That’s why I have this affinity with Billy Hart, who’s 14 years older than me. I probably have more in common with him than someone 14 years younger, who may be playing everything in 7/4, or writing science project pieces, or tunes with too many chords in them.
I consider myself a very rhythmic player; certainly I’ve earned my stripes in terms of playing rhythm and doing interesting things with time, but I’m also a melodist. Even in my post-bop (or whatever you want to call them) lines, they’re kind of my lines, they’re sort of my shapes, and they’re melodically driven. And hopefully, they follow consecutively from what happened the phrase before. It’s not like I ever practice patterns or altered scales, or any of that other Jazz information stuff.
