Ear training Part II: Prelude To Jazz Improvisation
Oct 14 '00 (Updated Nov 15 '05)
The Bottom Line These are additional structured exercises to develop serious students.
This is a follow-up to my earlier epinion on ear training:beginning and intermediate. I believe that training players to use their ear and hear themselves is very important. It should be a part of music lessons, even from the beginning, along with sound production, reading music and rhythm.
We left off at the point where a good, experienced student, maybe in high school, had learned by memory AND by ear to play all major scales, starting on ANY note in the scale, over the entire range of the instrument, and has mastered major chords over the entire range of the instrument.
While I mentioned intervals in the last epinion, I want to elaborate here, since it’s key to having ears for jazz improvisation and playing with others. The exercises in this epinion should not be attempted until the mastery of the major scale on every note has been established.
Saxguy’s Interval Studies
This is done for each major scale, taking a week per scale. The exercise is to play the root note of the scale, then another tone of the scale, then back to the root. The intervals should be done fairly slowly (half-notes) so the student can HEAR the intervals and their relationship to the key. The example below is for the key of C, numbers refer to the note order within the scale; R is the root; O is the octave. In the key of C, D is the second, E is the third, F is the fourth, G is the fifth, A is the sixth and B is the (major) seventh.
Ascending: C-D-C; C-E-C; C-F-C; C-G-C; C-A-C; C-B-C; C-C-C
Descending:C-B-C; C-A-C; C-G-C; C-F-C; C-E-C; C-D-C; C-C-C
These exercises should be done 1 key per week. They have the advantage, when done slowly of also being long tone and embouchure (how the mouth holds the instrument) exercises.
Saxguy’s Advanced Major Scale Studies
Next, assuming that the student has an interest in jazz improvisation, I point out that by learning the 12 scales staring on any note in the scale, the student has mastered 84 chord-scales, not 12, since the scale starting on each scale-tone within the scale can potentially be used for improvisation.
I focus on the three most common scales made out of tones within the major scales, while we are cycling through the interval studies. Again, I’m using the key of C as an example.
The scale that starts on the 2nd tone of the scales is the dorian mode and is frequently used as a minor chord, the minor 7 chord. For example, a C Major scale starting on D corresponds to the D minor 7 scale; the related chord D-F-A-C is D minor 7. I have them play that chord as an arpeggio over the entire range of the instrument.
The scale that starts on the 5th tone of the scale is the mixolydian mode, also known as dominant chord. In C, this is a C Major scale starting on G, with the chord G-B-D-F(natural) corresponding to the G7 or G9 chord. I have the student arpeggiate this in the same manner as the dorian mode.
The scale that starts on the 7th tone is the locrian mode, also known as half-diminished. In C, this is a C Major scale starting on B, with the chord B-D-F(natural) A. This corresponds to the chord Bm7b5. There’s a little controversy in the jazz community about how good the 2nd note in the scale sounds over the half-diminished chord. However, I personally have no problem with it and that is an advanced topic anyway. I have the students arpeggiate this chord also.
Generally, I start with the chord-scale relationships about the time that a student is first exposed to jazz improvisation and is moaning “How am I going to remember all these chords?”. I point out that he already knows a good number of chords through the scales and the rest can be learned over time. When I point out that my way of teaching scales (which is done at Berklee School of Music and lots of other places) results in knowing More that four chord scales for each major scale learned, the students are not as flustered.
I’ll talk about beginning jazz improvisation in a future epinion, but one key, while these fundamentals are being developed, is to do what I can to dispel fear in the student. A lot of things have to happen during improvisation, listening, thinking, feeling the rhythm, moving the fingers, blowing. There are so many things at once that fear can destroy or complicate what can be simple (not easy, but simple) ways of learning to express yourself through spontaneous composition.
While cycling through all 12 scales and the related minor 7 (2nd tone) dominant (5th tone) and half-diminished (7th tome) scales and arpeggios, I give them another exercise that helps develop their hearing and thinking.
Patterns In All Keys
This is the litmus test for moving forward into improvisation studies. Can they take a pattern of their choice and play it in all 12 keys? I’ll usually start them with a scalar pattern or simple arpeggio, then give them a sequence of chord progressions (selected from chromatic up, chromatic down, cycle of 5ths). Once they (preferable) or I (if asked) has selected a pattern and progression, I then write out the pattern for the first 2 or 3 chords, and then use chord symbols for the remainder. They can select patterns that they have heard from a video game or other source, as long as it includes the important tones within a major scale. Generally, the first chord sequence I use is the cycle of 5ths.
This is a doable exercise if their interval hearing is such so that they can hear in all 12 keys. I spend a lot of effort to get them ready to do this. I am patient while they struggle but this really is something that each player has to get through.
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There’s a lot here. I’ll happily answer any questions.
Thanks for reading. God Bless!
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If you like mainstream and fusion jazz, check out my web site, www.jazzobsession.com. You’ll find information on my newly-released CD, The Power of Two by John Temmerman's Jazz Obsession Quartet. It is available through Amazon.com and www.cdbaby.com. I have a special discount available on sales through my web site. Come on by!
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