This article comes from: Zhang Xiongguan jazz guitar beginner class
Everyone must have heard or played Autumn Leaves, which is the form of AAB, with 8 bars +8 bars+16 bars. This piece has four chords, seven, seven, and seven are halved, which basically covers the harmony of traditional jazz, and others are similar to MINUS.
Chords of the same attribute use different scales at different times. For example, in a major, there are two major sevens, one is major sevens and the other is major sevens. These two chords use completely different scales, and the scales called by A are all small seven. The scales used in major and minor seventh chords are also completely different.
Although this piece only uses four chords, the scale is far more than these four or even more.
Although these four chords correspond to far more than four scales, their arpeggios are all the same. The arpeggios of the seventh chord are all 1 3 5 7, and the arpeggios of the seventh chord, whether Dorian, Iolia or Phrygia, are all 1 b3 5 b7, belonging to the seventh chord, and the arpeggios are all 65437, regardless of major or minor.
Arpeggio practice
Take the first eight sections as an example:
The first four bars are 25 1 in c major, then go to level 4 in c major, and then the four bars go to 25 1 in a minor. Before, we specially practiced arpeggio in 25 1 major and minor, and now we put it into this piece to practice together.
Notoginseng tone connection
Before the solo, it is very important to find out all the notes 3 and 7 of the chord. You can use arpeggios of this chord in a single chord, but improvisation pays attention to connection and solution, and how to connect and solve the previous chord to the next chord. We talked about the connection of 37 notes in 25 1 before, that is, 7 notes of the previous chord are connected to 3 notes of the next chord.
Take C University 25 1 as an example.
C is the b7 sound of Dm7. If you drop a semitone, you will get the third note B of the G7 chord. When you connect Dm7 and G7, you can connect to the third sound of G7 through the b7 sound of Dm7, that is, C to B; When connecting from G7 to Cmaj7, you can connect to the 3-note E of Cmaj7 through the falling semitone of b7 note F of G7.
This is the best connection mode in February of 25 1 year. Although Cmaj7 to Fmaj7 and Fmaj7 to Bm7b5 in autumn leaves are not in the relationship of 25 1 February, we can connect them in the same way. You will find that the chords in music are all played in a four-degree upward way. In this case, the position of Panax notoginseng is reversed after the connection, as shown in the following figure:
We play the arpeggios of each chord in one place, and then practice the connection of the three tones of the chord. After making these preparations, we can fly alone.
Organize solo with arpeggios
In the same chord, we can play solo with the arpeggio of the chord. How to play it is up to you. The most important thing is to connect the seventh note of the previous chord with the third note of the next chord when changing chords. In this way, even if there is no chord accompaniment, we can hear the direction of the chord.
If you can play the arpeggios and connections of each chord clearly, although it is a single note, it can also reflect the color of each chord. Of course, this is only the most basic. We will also use some colored sounds and some inflections in the later connections. There may be different scales, but arpeggio must be the first step of solo.
Now many students can add corresponding scales to chords, but please note that E7 in grade five in A minor is not E Mixolyidna, but E Mixolydian b9b 13. This scale is the chromatic reduction of the ninth and 13 notes of Mixolydian, which comes from the fifth mode of a harmonic minor, so if you want to solo with a scale, you must know the difference!