David
Beecroft
Beginning Improvisation 1 + 2
Book + Play-along CD
Beginning Improvisation Book 1:
Book + Play-along CD
Major chords (Cmaj7, Cmaj9, C69) for the Ionian mode
Minor chords (Cm7, Cm9, Cm11, Cm6) for the Dorian mode
Dominant chords (C7, C9, C7sus, C13) for the Mixolydian
mode
in all keys: for Bb , Eb , C , Instruments
Beginning Improvisation Book 2:
Book + Play-along CD
V7b9b13 (V7 in minor)
Harmonic Minor scale from the 5th degree (Phrygian mode with a raised
3rd degree)
V7altered (tritone substitute)
Melodic Minor scale from the 3rd degree (Lydian mode with a raised
5 degree from the 3rd of the chord)
Dim chords & V7b913 Diminished scale
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© 2002 David Beecroft , All rights reserved.
Beginning Improvisation Book 1
What is this little book all about?
This book and CD provide relief to beginning
improvisers who feel that the chords that make up a piece of music change
too quickly to
grasp. It does this by providing play-along tracks
for almost any chord you may encounter in a piece of music.
This book (and play-along CD) provide a simple
approach to understanding with the intellect and the ears the basic sounds
found in jazz
music. The idea is simple, provide an opportunity
for beginning players to find their own melodies on the sounds that go
into creating a
jazz piece by providing a Òplay-alongÓ
track for each chord found in a song. The idea goes a bit further as there
is a simple preparation
exercise that gets the chord sound in your ear
so you can forget about the chord tones and scale degrees and concentrate
upon melodic
ideas.
This first CD only deals with three modes; Ionian, Dorian and Mixolydian. The chords that correspond to these three modes are:
Major chords (Cmaj7, Cmaj9, C69) for the Ionian
mode
Minor chords (Cm7, Cm9, Cm11, Cm6) for the Dorian
mode
Dominant chords (C7, C9, C7sus, C13) for the
Mixolydian mode
The second CD deals with the Harmonic Minor and
Melodic Minor scales, the IIm7b5, V7b9 and V7altered chords. More on these
sounds in the second book.
At the end of the CD there are 6 tracks devoted
to showing you how to prepare for the Òplay-alongÓ. They
are a guide as to how to
practice with the tracks. It is best to look
at the exercise first and before playing anything, figure out the notes
in your head and then play
them without reading. This way you are free to
remember and hear the individual personalities of each note. This is the
most important
aspect of the preparation exercise. When you
improvise you play with tension and release within the scale. This is something
your ears do
and is not a function of your thinking mind.
You can randomly Òplay-alongÓ to
the tracks or better yet, use the tracks as a bridge to playing songs with
a rhythm section or with a
Jamie Aebersold CD. You can do this by making
a list of the chords that are difficult to play over and then simply practice
each chord
sound individually until you understand the sound
with your ears and can find the things that you like to play over the chords
without
thinking.
A few ideas about improvisation...
This book is not meant to be the Òbe all,
end allÓ book of improvisation. There are no technique exercises
or patterns and no rules
about how to play over chords. You are simply
to play SHORT PHRASES and then LISTEN as much as you play. The spaces
between your phrases are as important as the
phrases themselves. Concentrate upon one area of your instrument by restricting
your
melodies to one octave. DonÕt jump around.
Other than that, just start discovering the melodies that come from you.
If you like you can
also ÒstealÓ licks from recordings
and transpose them (with your ears) into other keys.
With a little luck you will soon out grow this CD & book and move on...
Good Luck!
Beginning Improvisation Book 2
What is this second little book all about?
Like the first book & CD this book and CD
provide relief to beginning improvisers who feel that the chords that make
up a piece of
music change too quickly to grasp. It does this
by providing play-along tracks for the Harmonic Minor, Melodic Minor and
Diminished
scales.
This book (and play-along CD) provide a simple
approach to understanding with the intellect and the ears the basic sounds
found in jazz
music. The idea is simple, provide an opportunity
for beginning players to find their own melodies on the sounds that go
into creating a
jazz piece by providing a Òplay-alongÓ
track for each chord you might find in a song. The idea goes a bit further
as there is a simple
preparation exercise that gets the chord/scale
sound in your ear so you can forget about the chord tones and scale degrees
and
concentrate upon finding melodic ideas.
The first CD only deals with three modes; Ionian, Dorian and Mixolydian. The chords that correspond to these three modes are:
Major chords (Cmaj7, Cmaj9, C69) for the Ionian
mode
Minor chords (Cm7, Cm9, Cm11, Cm6) for the Dorian
mode
Dominant chords (C7, C9, C7sus, C13) for the
Mixolydian mode
At the end of the CD there are 6 tracks devoted
to showing you how to prepare for the Òplay-alongÓ. They
are a guide as to how to
practice with the tracks. It is best to look
at the exercise first and before playing anything, figure out the notes
in your head and then play
them without reading. This way you are free to
remember and hear the individual personalities of each note. This is the
most important
aspect of the preparation exercise. When you
improvise you play with tension and release within the scale. This is something
your ears do
and is not a function of your thinking mind.
You can randomly Òplay-alongÓ to
the tracks or better yet, use the tracks as a bridge to playing songs with
a rhythm section or with a
Jamie Aebersold CD. You can do this by making
a list of the chords that are difficult to play over and then simply practice
each chord
sound individually until you understand the sound
with your ears and can find the things that you like to play over the chords
without
thinking.
The second CD deals with three chord/mode combinations:
1) V7b9b13 (V7 in minor),
Harmonic Minor scale from the 5th degree
(Phrygian mode with a raised 3rd degree)
2) V7altered (tritone substitute)
Melodic Minor scale from the 3rd degree
(Lydian mode with a raised 5 degree from the 3rd
of the chord)
3) Dim chords & V7b913
Diminished scale*
*Normally the diminished scale is conceived of
as being a Òsymmetrical scaleÓ consisting of 8 notes that
are equally spaced within the
octave (whole step, half step). Here I propose
two
Ò7 toneÓ diminished scales, each
having a unique character. Restricting the scale to 7 tones provides a
ÒrootÓ feeling, thus (in my
opinion) making it easier to find melodic phrases.
It is best to look at the exercise first and before
playing anything, figure out the notes in your head and then play them
without reading.
This way you are free to remember and hear the
individual personalities of each note. This is the most important aspect
of the preparation
exercise. When you improvise you play with tension
and release within the scale. This is something your ears do and is not
a function of
your thinking mind.
A few ideas about improvisation...
This book is not meant to be the Òbe all,
end allÓ book of improvisation. There are no technique exercises
or patterns and no rules
about how to play over chords. You are simply
to play SHORT PHRASES and then LISTEN as much as you play. The spaces
between your phrases are as important as the
phrases themselves. Concentrate upon one area of your instrument by restricting
your
melodies to one octave. DonÕt jump around.
Other than that, just start discovering the melodies that come from you.
As you discover
interesting phrases you may find that you donÕt
have the technique to play them. Devise technique exercises from your melodic
ideas by
sequencing and transposing the phrases. Simply
play your ideas in every key throughout the entire range of your instrument.
Oh yeah,
SING! ThatÕs where youÕre really
at musically... Have Fun!
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