This site uses Akismet to reduce spam. Learn how your comment data is processed. Learn Jazz Standards. Get jazz tips and advice. Learn jazz theory. Get help with practicing jazz. Work on Ear Training. Play better jazz solos. Sign in. User Password. Forgot your password? In this lesson we will explore how you can develop your ability to add fills and other melodic decoration to the tunes you are playing.
The melody moves in steps throughout making it a perfect candidate for block chord harmonisation. You might like to check out this course where we study the tune in more detail: pianogroove. You might also like this lesson where we apply the Red Garland voicing to this same tune: pianogroove. So very glad I got to click on this lesson — powered me up instantly! The theme is arranged to play in a trio with bass and drums.
Most of the harmonization is done with drop 2 chord voicings. The second A has the same arrangement as the first A. The chord diagrams in between the notation and the tabs are a reference only, to see from which chord the used voicings are derived. Fret only the chord notes as written in the tabs, no need to fret the entire chord. Voice leading in improvisation is like a skeleton you can build your guitar solo around. The orange voice leading mainly follows the 3ds of the chords, the blue one mainly follows the 5ths of the chords.
At the end of the voice leading study and also in the scale study, I use the bebop scale a couple of times. The bebop scale is frequently used in jazz improvisation and is derived from the Mixolydian, Ionian, and Dorian modes. They are called bebop scales because they were often used by jazz artists from the bebop area like Charlie Parker. In the last lesson we explored the most common forms that you will come across.
Firstly, if you are reading a lead sheet, or looking at a chart, then you will be losing focus and energy that should be directed at your playing. Next, when playing in a band, you should be communicating and interacting with the other musicians. If you are concentrating on a score, then you may be missing out on much of what is going on in the band. Finally, internalising the chord changes will help you get the most out of your transcribed lines and solos.
The first 3 bars of the C Section are identical to the B Section, and then we have an alternate ending to finish the tune. After analysing the form, we now know which sections are repeated. No Comments. Leave a Reply Cancel reply Your email address will not be published. Recent Posts.There will be other songs to sing, Another fall another spring But there will never be another you. There will be other lips that I may kiss, But they won't thrill me, Like yours used to do. Yes, I may dream a million dreams, But how can they come true, If there will never, ever be another you? Yes, I may dream a million dreams.