Taking the diatonic triads a bit further, George shows how to expand on the voicings covered in earlier videos, and demonstrates how to play them in a melodic way, with a relaxed, jazz feel.
- Taking the idea of these diatonic triads a little bit further, you can, you can just keep going up, and go down a little bit too, and that gives you flexibility to create a lot of melody with this, depending on what you hear the soloist doing, or what you want to add to your own solo.
Let's look again at the idea of moving things diatonically like this. There's our basic voicing. The next note up in the scale, which is the B flat scale, and again if we put it over the F, it's called a Mixolydian scale. We're not using our Bach scales when we do this kind of thing, the harmonic thing, those are only for melodies.
Here's the first voicing, second voicing, let's go up to a third voicing now. That'll go up to there. That'll go up to there. That goes up to there, and that gives us an E flat triad over our F, so... Next step up from that is a straight-up F triad. And if we keep going from there, we get a G minor triad, and I kind of stop there 'cause I, here again we have one of the notes of our tritone on top.
That in this register I don't really like it, in this register it's okay. That was our very first experiment in harmony, was those guide tones, so for now let's kind of... That's a different thing. On B flat sevens, same idea. Walk 'em right up to the next note in the scale, again it's not chromatic motion, it's not parallel motion in that sense, 'cause that would give us this, you know, Herbie Hancock can make that work, but for now we're working on our blues.
In C seven, same idea. And again, I don't so much mind hearing the third on the top if it's down here, that's a little splattery for me somehow. Let's work out a little bit on the very very slow F seven blues, this is the F blues track at 80 beats per minute, and I'm just going to continue to extend all this stuff.
There's no reason that it has to be stepwise, either. It could just as easily be... You notice also that when I'm doing this stuff, I see a lot of piano players, a lot of keyboard players, doing this, if you ever played clavinet, there's no way not to do it. I'm kind of putting a little bit of in between information with my left hand, in an ideal world, the bass player won't complain about that, but it's mostly a little way of kind of, you can see, sometimes I'm kind of flicking at it but I'm not playing it, it's a way of kind of anchoring my own stuff, if you ever play mode bass, you'll find often that the secret, not to divert but, to the Boogie On Reggae Woman bassline, is that he's playing a lot of stuff, a lot of ghost notes down here that you don't even really hear the note, but you hear a little, it's almost like a click, and that's where a lot of the funk from that kind of bassline comes.
But when I'm playing, you know, I'm imagining that I'm comping behind a soloist here, so in theory I could be playing big full seven-note chords. Often I'm trying to add the essence of the harmony, and little commentary and a color, and this is just a very simple kind of hip color, again, listen to Les McCann, listen to Billy Preston, classic, and you'll hear a lot of this stuff and you'll hear that it's really just so often the right thing.
Let's play it on our slow blues a little bit and just have some fun with this. (slow blues drumbeats) A little chromatic action in there.
There we have it. You can hear that one thing that makes these things work, is a lot of dynamic range, I mean... That kind of thing, and you can also hear that I'm really laying back often, especially when you hit on the beat.
That's way behind the beat. If I were to record that in the sequencer, and we were to look at where those notes are in time, often, they're pushing, they're more than a 1/16th note back but that sort of very relaxed phrasing is the essence of jazz. Again, we don't listen to a song like this, especially at this tempo, to feel nervous, we want it to be very laid back, but we want to be relaxed, that's the thing, if we're like this, and it's like oh, I got to put this behind the beat, don't work like that, and once again, as I've said, it took me a long time, once I identified that this whole thing of being uptight and trying to brain it in was in my way, it took me months to really make a habit of relaxing all the time when I practice.
You know they say it takes 21 days to burn in a new habit, and it took me more than 21 days, but sit like this, be relaxed, you're in a club, everybody's left, you're just playing for yourself and your buddies who are on the bandstand with ya. Have fun with these, and I will see you for the next lesson.
Note: This course was recorded and produced by ArtistWorks. We're pleased to host this training in our library.
- Playing with both hands
- Basic jazz vocabulary
- Practicing pentatonics using approach patterns
- Combining bop scales, pentatonics, and approach patterns
- Adding guide tones
- Building a motif around a combination of notes