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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
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!
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
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
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
Mixolydian Scales
 Now well learn the Subdominant
Mixolydian
 Play the Bb Mixolydian Scale in your Jazz
Warm-Up Packet
 Scale 5: Bb Mixolydian
Mixolydian Scales
 Finally, the Dominant Mixolydian
 Play the C Mixolydian Scale in your Jazz
Warm-Up Packet
 Scale 6: C Mixolydian
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.
Chords for Alto/Bari Saxes
I7 IV7 V7
Chords for Tenor/Trumpet
I7 IV7 V7
Chords for Bass/Piano/Trombone
I7 IV7 V7
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
12 bar Blues for Alto/Bari
Saxes
12 Bar Blues for
Tenor/Trumpets
12 Bar Blues for
Bass/Piano/Trombones
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)
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.
Bebop Scales
 Tonic Bebop Scale
 Play the F Bebop Scale in your Jazz
Warm-Up Packet
 Scale 7: F Bebop Scale
Bebop Scales
 Subdominant Bebop Scale
 Play the Bb Bebop Scale in your Jazz
Warm-Up Packet
 Scale 8: Bb Bebop Scale
Bebop Scales
 Dominant Bebop Scale
 Play the C Bebop Scale in your Jazz
Warm-Up Packet
 Scale 9: C Bebop Scale
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:
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)
Section Goof-off
 Now, each section of the band is going to
take a chorus.
 Saxes
 Trombones
 Trumpets
 Rhythm
F Blues Changes (4x):
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)
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:
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:
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)
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!
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.
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):
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):
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.
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!)
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

More Related Content

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.
  • 9. Chords for Alto/Bari Saxes I7 IV7 V7
  • 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
  • 13. 12 bar Blues for Alto/Bari Saxes
  • 14. 12 Bar Blues for Tenor/Trumpets
  • 15. 12 Bar Blues for Bass/Piano/Trombones
  • 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