Look under 'Check This Out' for the link to the PDF of this lesson.
In Part 2 of my Upper Structure series I use a Maj Triad built off of the 7th scale degree of a Major 7 chord.
So if we are playing a Cmaj the upper structure would be a Bmaj triad.
I use this mainly to suspend the Maj7th chord. So instead of directly playing C maj I play a Bmaj Triad and then play the C maj chord.
Check out the video and if you have any questions please post them!
TRADUCCIÓN AL ESPAÑOL PARA ESTUDIANTES
Your last assignment for the semester:
Pick an etude out of the Friedman: Dampening and Pedaling book and post it here. David Friedman will comment on your posts.
@Harvey - What's the due date?
Great stuff. I hope you guys work hard on this and the following videos.
Hi everyone, I'm attaching a pdf hand out I used recently for a clinic. In it I go through an example of how one might use a combination of Cells and Upper Structure Triads to create tension and release for playing melodic lines and phrases through your improvisations!
If there are any questions please do not hesitate to ask!
Enjoy!
VW Lesson- Practicing the Blues by Tony Miceli
Scales: Minor Blues Scales (1,b3,4,b5,5,b7) in all 12 keys
Tunes: Blue 7, Straight No Chaser, Sandu, Billy’s Bounce, Bessie’s Blues, Au Privave.
Assignment: Pick a blues from the above choices, one you don’t already know, or would like to know better. State the melody, then play root notes on the first beat and improvise through the form as demonstrated in the video lesson.
Additional Blues Material;
So I was thinking of making some sort of chord etude and I thought, why don't I just comp through a tune. Then if you're working on comping you could learn this etude and analyze it.
So I took the changes to 'I Loves You Porgy' and comped simply through it. I played mostly quarter notes to keep things moving.
I'm curious is this is helpful to any of you.
Giovanni talks about how to play over triton substitutions, which scale you can use, some tricks to reharmonize it etc...