these descriptions take a long time to work. you have to type so much stuff it is really frustrating. But it is often worth it isf you can be bothered to type it all. Violin and trumpet are …Descripción completa
A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic (or diminished…Deskripsi lengkap
Patterns for jazz
Patterns for jazz
Jazz Piano PatternsDescription complète
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patterns for jazz bassDescripción completa
patterns for jazz bassFull description
Trata-se da parte do clássico livro Patterns For Jazz referente ao padrões em escalas maiores.Descrição completa
patterns for jazz bass
For Bass Clef Instruments Jerry CokerDescripción completa
jazz
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Jazz drumming comping patternsFull description
Jazz drumming comping patterns
Descrição: Coltrane method
patterns for jazz bass
For Bass Clef Instruments Jerry Coker
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DORIAN MODAL JAZZ & JAZZ FUNK GROOVES These are usually tunes or sections of tunes based on a one or two chord repeated pattern. A one-chord pattern in a minor key can imply an Aeolian, Dorian or Phrygian mode. As soon as a second chord is added the mode is usually more clearly defined. For example Dm7 - G7
!mplies Dorian as the "# contains $ %ma&or ' of D(
Dm7 - Gm7
!mplies Aeolian as the "m# contains $b %minor ' of D(
Dm7 - Eb ma7 !mplies Phrygian as the )b contains )b %minor * of D( and $b %minor ' of D(
The Dorian mode is probably most common mo de. !t is also a +ery useful mode to practice as the two chords in the example abo+e also form part of a typical !!m#- # - ! chord seuence. !t is +ery important to be aware that the chords Dm# - "# in a Dorian mode are chords ! and !, but in the key of they are chords !! and and usually imply a perfect cadence to chord !.
Scales and modes se!l !o" do"#an #m$"o%#sa#on /$ scales in impro+isation should always be used as a starting point for in+enting melodic patterns, and not used exclusi+ely as scales. Do"#an mode
This is often thought of as the scale built on the second degree of a ma&or scale. !n the context of modal music it is much better to think of each mode as a scale in its own right, not relati+e to a ma&or scale. !t can howe+er be useful to euate a mode to its parallel ma&or ma&or or minor, ie the one with the same root note. )ach mode has defining scale degrees0 eg a Dorian in D differs from a ma&or scale of D in that the third and se+enth degree of the scale are minor. !t differs from D harmonic minor in that the sixth degree is ma&or and the se+enth degree is minor. 1o the defining notes of a Dorian are the minor third, ma&or sixth and minor se+enth. Dori Do rian an mod mode e # note note sca scale le
Dorian Dor ian bebop bebop Dorian Dorian mode mode with added added chromatic passing note to create 2 note scale
3inor pentatonic
4 note scale
3inor blues scale
minor pentatonic with added chromatic passing note
Do"#an bebo$
$ebop scales are not true scales in their own right, but scales that ha+e had a chromatic passing note added to create an 2 note scale. This can be useful when impro+ising on 2 th notes so that a scale passage resol+es to a chord note, or so that chord tones fall on a strong beat. /$. The main essence of modal &a55 is melodic in+ention rather than the harm onic expertise used in changes based &a55. !n a Dorian seuence that consists of the two chords !m# and !#, impro+isers often interchange patterns and scales so that a Dm# pattern can be used o+er the "#, or a "# pattern can be used o+er the Dm#. This works well pro+ided that the impro+iser is aware of the tension created by this kind of interchange and uses it appropriately. This is a stylistic issue, it is something that comes with experience and is often impossible to define. /ote that the same passing note is used for the Dorian and relati+e 3ixolydian mode, so that they usually blur into one scale o+er the chord changes, whether a Dorian !m# - # or a standard !!m# - #.
M#no" $enaon#c
This is the same as the Dorian but without the second and sixth degrees of the scale. 6sed freuently by 1onny 7ollins in his post bebop period. A common scale in many form s of blues. M#no" bles scale
8ften referred to as The $lues 1cale. This is incorrect as there is more than one so called blues scale see 'les R#!!s . !n the same way that the bebop scale was in+ented by adding a passing note to an existing scale, the minor blues scale is &ust a minor pentatonic with a chromatic passing note added between the fourth and fifth degrees. The passing note is a contri+ance that is intended to emulate the intonation of a blues singer using blue notes, or intonation that defies the 9* note system. 7arely used as such by early blues musicians this scale has now fallen into the mainstream, thanks to ':s 7 ;$ and soundtrack music. !t can be useful when used sparingly on a Dorian mode, ma&or o r minor blues seuence and is best when used to form licks rather than played as an entire scale. The same minor blues scale is used o+er an entire seuence, ie it does not change root with the changes of chord roots.
Modal (e) s#*na"es Although it is arguably correct to use the key signature that gi+es the correct number of sharps or flats, it is often less confusing to notate a Dorian as an Aeolian with the sixth degree raised as an accidental where it occurs, as you would with a melodic minor. 6sing this method a Dorian mode whose root note is " has * two flats not one, and the ) naturals that occur are notated with a natural sign.
+ae"ns !o" Do"#an #m$"o%#sa#on The following patterns are all tried and tested clich
)x 9 %$eware this is very clich
)x *
)x > )xtending )x * up to the ?th
)x @ 6seful triplet pattern. This one can also be extended beyond the ? th.
)x 4 Dorian bebop. This is a clich<, but can be used in many combinations.
)x ' )xtending )x 4
)x # Dorian with chromatic leading note
)x 2 ombining )x # with )x 4
)x ? Dorian with chromatic leading note
)x 9: ombining )x ? with )x 9
/ote that as soon as )x 9 is combined with another pattern, it becomes less of a clich<. )x 99 ombining )x ? with )x 4