Jamie Holroyd Guitar

Jamie Holroyd Guitar

Beginner Jazz Improvisation

Beginner Jazz Improvisation

This lesson teaches beginner jazz Improvisation using jazz scales and rhythms.

The idea of improvising in a jazz context can initially seem quite daunting to many beginner jazz guitarists, especially after they have heard a player such as Charlie Parker or John Coltrane. While both of these players are great improvisers, it is not impossible for the average musician to learn to begin to improvise in that style.

This lesson aims to aid the studying jazz guitarist in their journey by demonstrating how scales can be used to improvise in a jazz style.

Each of these beginner jazz improvisation exercises must be practiced with either a slow major ii V I backing track to begin with and or with using a metronome.

All the examples are in the key of G major, but they should ultimately be practiced in all 12 keys and in different positions across the guitar fingerboard.

There are many ways to improvise over the major ii-V-I, but this lesson is specifically aimed at the beginning jazz improviser.

 

Beginner Jazz Improvisation

 

 

Beginner Jazz Improvisation – Major ii V I Scales

 

The diagram below indicates three two octave scales which will be used to improvise over the major ii-V-I chord progression. Practice these scales ascending and descending slowly in eighth notes, with a light right hand touch and firm left hand control.

This beginner jazz improvisation exercise should be done until the point where you can smoothly switch between each scale without making a mistake ten times in a row. This will ensure that the correct amount of technical fluency is needed to move to the next step.

The harmonic formula is shown below and will need to be thoroughly learnt to complete the exercises in this lesson.

 

A Dorian: R, 2nd, b3rd, 4th, 5th, 6th, 7th,

D Mixolydian: R, 2nd, 3rd, 4th, 5th, 6th, b7th,

G Major Scale: R, 2nd, 3rd, 4th, 5th, 6th, 7th,

 

Beginner Jazz Improvisation Techniques - Scales

 

 Beginner Jazz Improvisation – Rhythm 1

 

Now that each scale can be played through smoothly, it istime to look at how to use them in a stylistic and coherent way. In any kind of music, the most important element is rhythm, not harmony.

Therefore, common jazz rhythms will need to be ingrained to the harmony before the improvisation “sounds like jazz”. The first example shows a common jazz rhythmic syncopation pattern in which the scale starts on the and of four, instead of beat one.

 

Beginner Jazz Improvisation Techniques - Rhythm 1

 Beginner Jazz Improvisation Techniques – Ex 1

 

 

 Beginner Jazz Improvisation – Rhythm 2

 

The second jazz rhythm pattern is demonstrated in the lower of the two octave A Dorian scales shown at the beginning of the lesson. Note that it starts on the 6th of the chord as opposed to the root, like in the first example.

This example is certainly more challenging than the first, but this is a classic piece of jazz language which needs to be ingrained. This will ensure that the entire range of the guitar is used and will also develop finger strength by playing on the lower strings.

 

Beginner Jazz Improvisation Techniques - Rhythm 2 Beginner Jazz Improvisation Techniques – Ex 2

 

 

 Beginner Jazz Improvisation – Rhythm 3

 

The final jazz rhythm is a shorter melodic idea that starts on the 5th of the chord. Note that the first two notes should be played staccato.

 

Beginner Jazz Improvisation Techniques - Rhythm 3 Beginner Jazz Improvisation Techniques – Ex 3

 

 

 

 Beginner Jazz Improvisation – Combining Rhythms

 

To conclude the study of using jazz rhythms on a static chord vamp, here is a short example which combines all three lines together. Play along with the demo track.

Practice playing the same rhythms, starting on the same scale degrees for the remaining two scales; D Mixolydian and G Major before moving on to the next step.

 

Beginner Jazz Improvisation Techniques - Rhythm 4

 Beginner Jazz Improvisation Techniques – Ex 4

 Beginner Jazz Improvisation – 1 Rhythm Over Each Chord

 

Once the rhythms can be statically played over each chord, they need to be played over the ii-V-I chord progression. The example below demonstrates how rhythm 1 can be played over each chord. Do this with the remaining two rhythms.

 

Beginner Jazz Improvisation Techniques - 1 Rhythm 3 ChordsBeginner Jazz Improvisation Techniques – Ex one rhythm diffrent chord

 

 

 Beginner Jazz Improvisation – Lines

 

The final step of this lesson teaches how to combine the different rhythms and scales together to form jazz lines. The first example switches between all 3 rhythms in a numerical order. Straight out of the box, this produces a melodic and coherent jazz line.

 

Beginner Jazz Improvisation Techniques - Lick 1  Beginner Jazz Improvisation Techniques – Ex 5

 

The second line starts with the second rhythm, then goes to rhythm 1 and goes back to the rhythm 2 again. There are no set rules when combining these rhythms. Try to combine them in a way in which you can connect each scale without making any big intervallic jumps.

 

Beginner Jazz Improvisation Techniques - Lick 2Beginner Jazz Improvisation Techniques – Ex 6

 

The rhythmic and harmonic examples in this lesson are for study purposes, but once they can be played and understood, students should experiment with the harmony and rhythm to create their own ideas.

For example, each of the exercises starts on a specific scale degree. Try to play the same rhythms starting on different scale degrees. This would be harmonic variation.

An example of rhythmic variation could be starting rhythm #1 on one and for example. The broader and more long term concept of this lesson is that is teaches how to hear different harmonic and rhythmic possibilities so that these devices are available to you when improvising.

 

 

 Beginner Jazz Improvisation – Tips

 

  • Listen to and transcribe from classic jazz recordings to gain inspiration for original ideas
  • Focusing on strong chord tones such as arpeggios
  • No player improvises 100% of the time and often relies on a set of lines to draw upon.

 

 

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Comments

Bernard FLORANCE

still other lesson of this level please Matt.
I remain your humble student of 64 years ..!

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Mike Ranfft

Great lesson Jamie, I like the rhythmic patterns! I imagine you have to use a pull off on notes 3-5 to do this with any speed?
Cheers and thanks for the lesson!

Jamie Holroyd

Thanks Mike, yes using pull offs works great! Cheers

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Niklas

Hi Jamie! Just found your site, looks good! How come the scales on the beginning of this page are played on different places on neck, although they are the same notes, but with different starting points? I find it difficult to understand how my fingering should be for the A Dorian mode, since it uses frets 4 to 10. Could you elaborate on that? Thanks!

Jamie Holroyd

Hi Niklas, thanks for the comment. Good observation! In all honesty these scales are just for my private students so you could actually use any two octave scale you like. The reason I use these is because movable fingerings is one of the first things I teach in regards to scales. Hope this helps.

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Claude

Over dominant 7th chords what scales would be preferred. Thank you .

Claude

Jamie Holroyd

Mixolydian on none resolving dominant 7th chords and the altered scale on resolving ones!

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