Download Exotic Scales: New Horizons for Jazz Improvisation by Joseph Befumo PDF

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By Joseph Befumo

Unique Scales: New Horizons for Jazz Improvisation starts with easy Harmonic thought, Diatonic Scales, and Modes,' after which jumps into scales starting from the slightly conventional Melodic Minor and Neapolitan Minor and Neapolitan significant, to extra unusual ones just like the Aeolian bb7, the Dhenuka, and the Enigmatic Minor. Scales are cataloged and awarded in response to the variety of augmented periods they include. Befumo exhibits you the durations that construct each one scale, the place the notes lie on a standard six-string guitar utilizing tablature, and the make-up and serve as of the chords outfitted from the dimensions tones. helping fabric, on hand as a loose obtain or on a CD_ROM, good points audio examples (a melody tune and heritage music for every scale), common MIDI documents, transcriptions in Adobe Acrobat PDF structure, and resource documents that may be used with Cakewalk items, Coda Finale, SoundTrek Jammer, and remarkable Artware Composer.

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R esults: A A 1 B B 2 C# C b3 D D 4 E Eb b5 F# F b6 G# G b7 Table 3-9 As shown in Table 3-9, we can play the Melodic Minor scale over a min7(b5) chord whose root is a major sixth (nine semitones) above that of the scale. A C Melodic Minor scale is thus played over an Am7(b5) chord. : R esults: R esults (rein terp reted ): B B 1 1 C# C b2 b2 D b3 #9 D# Eb b4 3 E F# F b5 #4 G# G b6 #5 A# A b7 b7 Table 3-10 In this situation, the presence of a b3 and a b4 introduces some ambiguity as to the nature of the chord.

In order to reinforce the feeling of playing against a C key center, I’ll go ahead and add some extra C chords wherever it’s legal. ) The result is: Cm7-Dmin7(b5)-EbMaj7-Cm7-Fm7-Cm7-Bb7-Cm7AbMaj7(#11)-Cm7-Gm7-Cm7. Hence, we now have a 12-bar progression against which we can freely improvise using our Natural Minor scale. pdf). Let’s walk through this segment of the solo and see what emerges. Remember, in playing the solo I followed the fingering patterns and my ear, rather than explicitly attempting to play notes from the chords.

A C Melodic Minor scale is thus played over an Am7(b5) chord. : R esults: R esults (rein terp reted ): B B 1 1 C# C b2 b2 D b3 #9 D# Eb b4 3 E F# F b5 #4 G# G b6 #5 A# A b7 b7 Table 3-10 In this situation, the presence of a b3 and a b4 introduces some ambiguity as to the nature of the chord. As shown in Table 310, that b4 will naturally tend to assert itself as a major third. Although it would certainly be permissible to harmonize this chord as a min7(b5), a better solution is to reinterpret the scale degrees as shown, and voice the chord as a 7(#5#9).

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