Welcome to part 2 of Using Drop 2 in Improv. In this post we are going to talk about another we can use the Drop 2 concept to help your improvisations. This tip is one that you would use in your practice room. If you go back and check out the series called Map It Out you can get the initial concept of “planning your route” on a tune you are working on. While mapping out a plan mark the changes with (where appropriate) a 4-part rootless voicing. Then apply the Drop 2 to those voicings (see below).
Much like planning out a guide-tone map we can use these rootless voicings as a map too. However, the Drop 2 voicings add more flavor to the line because of its change in interval. The example below takes a arpeggiated line based off of part of the rootless voicing. Notice what happens to the same line when the Drop 2 is applied. Be sure to play them on your instrument or piano to hear the difference:
Let’s do another example. This time instead of an arpeggio we will use a simple line and apply the concept. The first example uses the 4-part rootless voicing as a guide. The second example uses the Drop 2 version as the guide which made it easier to apply a pentatonic targeting technique (more information on that can be found in my book Targeting: Improvisation With Purpose).
Try it out this week. Take a tune you are learning and map out a “Drop 2 route.” See what new sounds and intervals you can creatively use in your improvisations. If you need help with the what/how to play over the Drop 2 voicings then I suggest you check out Targeting: Improvisation With Purpose and Breaking the Monotony.
Usually when people talk about using “Drop 2” they are typically referring to voicings (on piano or guitar) or an arranging technique. However, in today’s post I wanted to look at a creative way we can use the concept to spur ideas for your improvisations. Before we dive in to the idea I think it would be good to explain what a Drop 2 is for those that may not be familiar with that terminology.
The simplest way to explain what a “Drop 2” is to show you. If you take the 2nd voice from the top of a chord and lower it an octave you have a Drop 2 voicing. Below is a root position C7 chord. Beside it is the same C7 chord, but with the Drop 2 voicing applied.
There are a few concepts in arranging where using the Drop 2 voicing gives you a great sound (I especially like using it in the trombone section of a big band). However, I want to look at how using the Drop 2 idea can spur new creative ideas for your improvisations. We have all probably worked out arpeggios on our instruments (or at least should have/should be), but few seem to work on them outside of root position. Before you shut down thinking, “Oh, this is just an arpeggio rant” stick with me for a moment.
Those that have followed this site know how important I view the concept of targeting (aiming at a goal note with purpose). In this first part we are going to apply chromatic targeting principles (more info found in my book Targeting: Improvisation With Purpose) to the root position C7 chord and then again with the Drop 2 version. Play through these with your instrument and listen to the difference in line movement.
In this example the Drop 2 version is more angular then the root position version. While I might change the rhythm of the line up, I personally like the movement from the Drop 2 version with the overt tritone sound upfront. It does not sound like someone playing around with an arpeggio. Let’s use another example, but this time we wont start with a root position voicing. Below is a Bbmaj9 in a block chord voicing (which means all of the voices are within an octave) and then the same voicing applying Drop 2.
And a line utilizing chromatic targeting principles:
While the last two examples above used chromatic targeting on the “D,” you could use chromatic targeting on any of the notes found in the voicing. Next week we will expand the Drop 2 idea and look at some other ways we can use it for to enhance your improvisations. I hope you have enjoyed this tip and that it adds some value/benefit to you and your playing!
This week’s Discovery location takes us to one of the most recognizable and largest countries in South America-Brazil! Brazil is the 5th largest country in the world with a booming economy. Most probably know that Brazil is the home of the Bossa Nova as well as other styles that are regularly incorporated into Jazz. Brazil has been home to some great jazz musicians born there as well as those who have made it their home. This wonderful country has not only embraced jazz in its various forms, but helped greatly influence the art form.
As with our past locations, the goal is to introduce you to 3 new musicians each week from different parts of the world. My hope is you will find some new discoveries, support them by buying their albums and by attending their concerts if you are in their area (or they in yours). Another benefit is for you to hear new musicians and how they approach their instrument and jazz. You never know where you might find your next favorite line!
Like a number of the other large cities that host live Jazz around the world, Brazil has live music venues too numerous to mention on this site. Someday, I would love to take my band (The JKQ) to the BMW Jazz Festival which is held in São Paulo and Rio de Janeiro. While I have not been, I have heard this is one of the most exciting Jazz Festivals on the planet. Take a look at their site to see who they had performing at this year’s festival.
Like mentioned with other great countries; Brazil has been the home to a number of jazz musicians known and unknown. Hopefully the musicians below are people you will start checking out (if you have not already).
Claudio Roditi– trumpet
Eliane Elias– piano
Nilson Matta– bass
These are just a few of literally hundreds of great jazz musicians you can find in and/or from Brazil. If you have checked out these musicians above, be sure to check out their websites and albums to support them. I would also highly encourage you to look up other great Brazilian musicians and see what this great country has to offer in terms of Jazz.
Have you ever had a line in your improvisation that came up in the moment that you liked so much that you wanted to Say That Again? But, the progression keeps moving so you had to transpose the line. For some improvisers this scenario can be nerve-racking because you might only know that line in one or two keys. In today’s post I want to share an exercise I use regularly (and one that you should never stop doing) to help not only with ear training, but with confidence in playing in all keys. This exercise in the academic world has a number of different terms associated with it: sequencing, transposing, modulating, etc. However, when I work with younger students I like to not only teach the academic musical terms, but call them something they might find humorous so they remember it. In this case, I like to call this exercise: Say That Again!
It is simple. When you are practicing find a motif, riff or lick (perhaps the Lick of the Day here on this site) that you like. For this example we will use the lick below:
After playing the lick (motif, riff, etc) a few times as written…stop looking at it. Memorize it and play it without reading the notes. Once you have the lick down you are going to Say That Again, but by playing it a half-step up or down (see below):
You can continue that pattern all the way up (or down) the chromatic scale. Not only have you played the lick in all keys, but you now can play the lick in half-step motions which can be used for taking a line outside. Another very popular way of doing this exercise is by going up in fourths which is often called playing around the cycle of fourths (see below):
Practicing your lick this way gets you to start thinking about moving around one of the most common root progression movements (ex. iim7 – V7- Imaj7 all have root movements of a fourth). The next couple of examples move the lick around major 2nds (up or down the whole-tone scale) and minor 3rds (up or down the Diminished 7th chord):
I hope this week’s tip has added some value or benefit to you or your student’s playing in some way. For a challenge this week take one of the licks from the Lick of Day found here on this site and take it through the Say It Again exercise. Over time you will be able to navigate your favorite lines through different harmonic progressions with ease!
Finally, be sure to pick up your copy of Mountain, Move today. Part of the proceeds of each album sale (physical or digital) help the Pearl Alliance and their fight against human trafficking. You can get one at our Digital Store along with both of my books: Targeting: Improvisation With Purpose and Breaking the Monotony.
In last week’s post we talked about the importance of getting out and supporting live music. I also mentioned that we would be starting a new series called Discovery where I hope to introduce you to 3 new musicians each week from different parts of the world. My hope is you will find some new discoveries, support them by buying their albums and by attending their concerts if you are in their area. Another benefit is for you to hear new musicians and how they approach their instrument and jazz. You never know where you might find your next favorite line!
Our first stop on our Discovery journey is to one of my favorite places to visit…France! There are a number of great jazz clubs to check out if you are in France. One of my favorites is Duc des Lombards in Paris. France has been the home to a number of jazz musicians known and unknown. Hopefully the musicians below are people you will start checking out (if you have not already).
Jean Michel Pilc-piano
Geraldine Laurent-alto sax
These are just a few of literally hundreds of great jazz musicians you can find in and/or from France. If you have checked out these musicians above, be sure to check out their websites and albums to support them. I would also highly encourage you to look up other great French musicians and see what this great country has to offer in terms of Jazz.
While I was pondering what I should write about this week I was reminded of a post that was made two years ago around this time and is also written about in more detail in my book, Breaking the Monotony. In the U.S. we celebrate our Independence Day on July 4th which is later this week. I thought this week a re-post was in order. I hope you enjoy!
“Hey Everyone! Welcome to Week #5’s tip-Independence in Improvisation. Today (July 4th, 2011) in the U.S., we celebrate our Independence Day and what better day to talk about independence in improvisation than today? This is a topic that I don’t hear talked about enough in jazz education when discussing improvisation. This week’s tip is something that I try to work on at least once a week and encourage everyone to do the same.
Independence in improvisation could have a few different definitions, but the one that I’m applying refers to the ability to improvise effectively with no accompaniment. A few years ago I had the honor to take a lesson with jazz trumpeter, Ron Miles. We talked a lot about melodic considerations while improvising, but the topic that dominated the majority of our discussion was the ability to improvise when no one else is around (or when the rhythm section drops out for a chorus). This not only works on your time, but makes you focus on the melody and chord changes on a deeper level.
In our modern age of technology, we have become very dependent on our digital “rhythm sections.” Don’t get me wrong, I LOVE using Aebersold’s, Band-in-A-Box and my current favorite…iReal Book for the iPhone. As a matter of fact, I use them on a regular basis. However, we become dependent on having something else feed us the changes and dependent on it keeping time for us. It can cause our improvisations to become reactive instead of proactive. When we’re playing on the bandstand, we’re playing with other musicians who are making music with us. If we’ve spent all of our time with a digital rhythm section, it becomes more difficult to interact with the REAL musicians on stage. The more time we spend working on a song independently, the more freedom we have with that song. It’s become so ingrained that we don’t have to think about it on the bandstand and our focus can move from what I’m playing to what we’re playing.
For this week, take the song(s) that you’re learning and improvise with no backing track of any kind. If this is your first time utilizing this concept, it will probably be a little difficult for the first couple of times. However, after a short time of working on it, when you play it with a rhythm section you will feel a new level of confidence and a sense of freedom to interact with those around you.”
I hope this week’s tip has been as helpful to you as it has been to me! Be sure to go to Jason Klobnak Music to grab your copy of Breaking the Monotony or Targeting: Improvisation with Purpose. Every book sale and donation helps the JKQ with our Midwest tour expenses coming up in August. More details on the tour will be coming soon!
In this week’s post I wanted to talk about a scale that does not get a lot of mention in improvisation classes, but it one that is quite effective and easy to learn. That scale is the Harmonic Major scale. Some of you may be wondering, “Wait a second Jason…harmonic MAJOR? I have heard of the harmonic minor scale, but what is the harmonic major scale?” Well, I am glad you asked! Before we take a look at the harmonic major scale, let’s take a look at the more common harmonic minor scale.
The harmonic minor scale is a minor scale that has a lowered (flat) 6th scale degree and a major 7th scale degree as shown in the example below.
There has been quite a bit written about this scale and its uses. However, we are going to look at the harmonic major scale. The harmonic major scale is essentially a major scale with a lowered (flat) 6th scale degree. The C-harmonic major scale is shown below.
The harmonic major scale, like every other scale, can be used over various harmonies. One of my favorite uses is over V7(b9) chords. If you take the harmonic major scale and start on the 5th scale degree (if in C…that means you would start on the G), it fits perfectly over the V7(b9) chord. Another way to think about it is if you have a V7(b9) chord, you can use the harmonic major scale a perfect fourth up from the root of the V7(b9) chord. You get the b9 of the V7 chord, but none of the other alterations that are found/heard when you would use a diminished or altered scale.
The example below is a line based off of the C harmonic major scale played over the G7(b9) chord:
I personally like the sound between the flat-6th and major 7th. The scale still has an exotic texture to it-yet still has that familiar major feeling at the same time. I hope this tip has added some value or benefit to your playing!
For more information on how you can use the harmonic major OR harmonic minor scale to creatively target notes in your improvisations you can check out my book Targeting: Improvisation with Purpose or Breaking the Monotony at my Digital Store.
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The Jazz community recently lost another great musician in pianist Mulgrew Miller. I have been a fan of his playing for years-especially his time with Woody Shaw. While thinking about his playing and some of his characteristics (and there are many) I loved the way he played sequences. In honoring Mr. Miller I thought this week’s post should be on using sequences in your improvisation.
What are sequences? There are two types of sequences you will find in jazz: melodic and rhythmic.
Both types of sequences are not hard and fast rules. A melodic sequence can be exact interval repeats (digital patterns) or different notes entirely. The general outline or shape of the line is what is repeated. It can have a different rhythmic pattern or the exact rhythm pattern repeated (but with the notes changing).
We are going to look at an example and how we can sequence a pattern. Below is our basic pattern that we are going to use throughout this post.
The next example takes our pattern above and uses a sequence over the first part of a 4-bar progression. This example takes the exact pattern and modulates it to the next chord. In this example we keep the same rhythm as the original:
You do not have to keep the exact rhythm to create a sequence. The next example takes the idea from above and rhythmically anticipates the F# going to the D7:
Another way you can continue the sequence is by keeping the rhythm and shape of the original pattern, but changing the notes so they fit the next chord:
That same idea could be repeated over the entire progression, but you may want to add other elements to the idea to keep it from going stale. A few ways to do that is to compress the rhythm down or expand the rhythm out:
In the final example below we take some of the different elements of sequencing above and put them into the 4-bar progression (I-VI7-ii7-V7):
I hope this post has added value to you and your playing in some way and that you can start adding sequencing to your improvisational tools. For more information on how you can use digital patterns for sequencing, check out my book Targeting: Improvisation With Purpose. For more information on how you can rhythmically energize your improvisation check out Breaking the Monotony at my Digital Store