The document provides instruction on learning jazz improvisation through an F blues scale. It covers major, mixolydian, and bebop scales in F, Bb, and C. It teaches the I7, IV7, and V7 chords and the 12 bar blues progression. Students practice call and response, trading solos, and soloing over blues changes to develop improvisation skills. Homework assigns solo practice over blues changes.
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ABC Inbetween Session Group 20 presentation 2015
1. Group 20
MUSI 6031
Introduction to Jazz Improvisation
through the F Blues
Created by: Sarah Butler, Sanford Jones,
Caitlin Curran, Wilber Ibarra, Chris Sakowski, and
Daniel Sandt
2. Major Scales
Scale 1: Learn your root scale
Play the F Major Scale in your Jazz Warm-
Up Packet
Scale 1: F Major Scale
(mouse over the audio icon to play the file)
Be sure to observe articulation in your
music!
3. Major Scales
Scale 2: Learn your subdominant scale.
Whats the fourth note in F major? Thats
the starting note of our next scale.
Play the Bb Major Scale in your Jazz
Warm-Up Packet.
Scale 2: Bb Major Audio
4. Major Scales
Scale 3: Learn your dominant scale.
Whats the fifth note of F major? Thats
the note the dominant scale starts on.
Play the C Major Scale in your Jazz Warm-
Up Packet
Scale 3: C Major Audio
5. Mixolydian Scales
These are the scales that blues chords are
based on.
Similar to major but has a flat 7th. Start
with Tonic.
Play the F Mixolydian Scale in your Jazz
Warm-Up Packet
Scale 4: F Mixolydian
6. Mixolydian Scales
Now well learn the Subdominant
Mixolydian
Play the Bb Mixolydian Scale in your Jazz
Warm-Up Packet
Scale 5: Bb Mixolydian
7. Mixolydian Scales
Finally, the Dominant Mixolydian
Play the C Mixolydian Scale in your Jazz
Warm-Up Packet
Scale 6: C Mixolydian
8. Building Chords
The blues is made up of a series of
chords. The chords we will use include
the 1st, 3rd, 5th, and 7th note of each of
the Mixolydian Scales.
Build the chord for F Mixolydian by
stacking the four notes (1, 3, 5 and 7) on
top of each other.
12. The 12 bar blues
Now that we know the scales and chords
of a blues, we need to know what order
the chords move in. The form is as
follows, with each chord getting one
measure:
I, IV, I, I
IV, IV, I, I
V, V, I, I
16. Hearing the Form
Were going to listen through a blues
progression, and I want you to follow
along in your music and sing the roots of
the chords.
Ooooone, Fouuuur, Ooooone, Oooone
Fouuuur, Fouuuur, Ooooone, Oooone
Fiiiiiiiive, Fiiiiiive, Oooone, Oooone
F Blues Changes (4x)
17. Bebop Scales
The next scale to learn is the Bebop
Scales. These are a combination of both
the Major and Mixolydian Scales because
it includes both the Major 7th and the
Minor 7th.
18. Bebop Scales
Tonic Bebop Scale
Play the F Bebop Scale in your Jazz
Warm-Up Packet
Scale 7: F Bebop Scale
19. Bebop Scales
Subdominant Bebop Scale
Play the Bb Bebop Scale in your Jazz
Warm-Up Packet
Scale 8: Bb Bebop Scale
20. Bebop Scales
Dominant Bebop Scale
Play the C Bebop Scale in your Jazz
Warm-Up Packet
Scale 9: C Bebop Scale
21. Scales over changes
Were going to play an F Blues
progression. With each chord, play the
bebop scale associated with it.
Play the Bebop Scale Exercise in your Jazz
Warm-Up Packet
Trumpets and tenors first two chords:
Bebop Scale Exercise:
22. Group Goof-Off
Now give it a shot! Using the notes from
those scales, just play anything you want!
Everybody play a solo at the same time.
Were going to play the changes of an F
Blues four times, and just experiment
and have fun! Dont worry about
mistakes nobody can hear you
F Blues Changes (4x)
23. Section Goof-off
Now, each section of the band is going to
take a chorus.
Saxes
Trombones
Trumpets
Rhythm
F Blues Changes (4x):
24. Individual Goof-Off
Anyone who feels ready to try it on their
own lets see it! At this point you do
not have to, but if youd like to, heres a
chance to practice.
F Blues Changes (4x)
25. Call and response
Listen carefully to the recording. Its
going to play a one measure lick you
echo it back on your instrument in the
next measure.
Melodic Fragment 1:
Melodic Fragment 2:
Melodic Fragment 3:
26. 3rds and 7ths
The relationship between the 3rd and the
7th scale degrees in these chords makes it
easy to transition between chords
without jumping around on the
instrument.
Turn to page
3rd to 7th: 7th to 3rd:
27. What makes a good solo?
- Great Tone Quality
- Confidence
- Space
- Contrast (slow notes and fast notes)
- Stepwise motion
- Intentionality in rhythm and notes
(Refer to resources at the end for examples
of solos on every instrument)
28. What makes a good solo?
Solos are not 100% made up on the spot
Use licks youve heard (in the right key).
Use your laboratory (practice room).
Think about the line of the melody, rhythm, and
dynamics. Have it build up to an exciting finale!
There are no wrong notes. If you play
something you dont like, move a half step up or
down or play the same note again, LOUDER!
29. Trading 4s
Often times in jazz, we have two people
solo together and take turns. This is
called Trading 4s. One person takes 4
measures of a solo, then the next person
takes the next 4 measures and they trade
back and fourth over the course of two
(or more) choruses.
30. Practice Trading
Now were going to pair off within the
room and youre going to trade 4s with a
partner. Well go through four choruses.
Listen to what they play and respond.
Repeat their last section & add to it
Think question and answer
Wilber Blues Melody:
F Blues (4x):
31. Be a brave soul
Everyone is going to take a solo by
themselves. Were going to play Wilber
Blues and in between choruss, people
are going to take solos. Everyone will
take one either today or tomorrow
including rhythm section!
No matter what happens we will clap
for you and be proud of you.
Wilber Blues (1x Melody):
F Blues Changes (4x):
32. Homework
In your e-mail inbox is the recording of
the changes for an F blues (repeated 4
times). Take that recording into the
laboratory, and practice soloing. Within
the next week, you either need to set an
appointment with me outside of class to
play a solo, or record a video on your
phone of you soloing and e-mail it to me.
33. Moving forward
Once you feel like youre ready for the next
steps, heres what you can work toward:
Adding a ii, V, I progression at the end of an F
blues
Learn to play the scales and chords of the
blues in other common keys (Bb, Eb, Ab)
Learning different forms of jazz (Minor Blues,
Rhythm Changes, Samba, and more!)
34. Resources
Flute - Eric Dolphy - "Inner Flight"
Clarinet - Albert Burbank - Burgundy Street Blues
Saxophone - Charlie Parker - All the Things You Are
Trumpet - Miles Davis - So What
Trombone - J.J. Johnson - Like Someone in Love
Guitar - Wes Montgomery - Round Midnight
Piano - Thelonius Monk - Dont Blame Me
Drum set - Buddy Rich - Bugle Call Rag (live 1982)
Bass - Charles Mingus - Goodbye Pork Pie Hat