Welcome message from author
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
6 The Art of LinearImprovisation
SUBCHAPTERS
• Hearing the Rhythm and Scales
• Connecting the Scales
• Playing Through the Changes
CHAPTER OVERVIEW
Years of studying and transcribing pianists and horn players has allowed Mike to develop a unique approach to linear improvisation on guitar. Mike noticed that if you analyze the lines played by pianists and horn players written on a staff, they look like long, flowing ribbons. In an effort to capture a similar sound to players like Freddie Hubbard and John ColtranColtrane, Mike strayed away from how guitarists often approached linear improvisation.
Mike explains that the first step to creating long ideas over chord changes is hearing the different harmonies and tensions within one scale. Mike states that the next step to creating convincing lines is understanding the jazz language, which will allow you to weave long ideas with strong rstrong rhythm, phrasing, and melodic direction.
After learning how to navigate comfortably within one scale, Mike recommends learning how to connect multiple chord harmonies. By focusing on one set of changes at a time, such as a blues, Mike demonstrates how different cadences lend to the use of different scalar harmonies.
Mike also recommends playing through the changes without breaking the linbreaking the line, which requires playing the line as high up the fretboard as possible and then coming down as low as possible. This helps the player learn to escape the crutch of playing in comfortable positions on the guitar, and breaks the habit of wanting to play particular patterns over chord shapes.
Elite Music Mentor Mike Moreno 77
—Mike Moreno
“Create ideas that go through changes without being manipulated by the changes themselves.”
6 The Art of LinearImprovisation
HEARING THE RHYTHM & SCALES
• Hear different tensions within one scale (2:16)
• Use different rhythms to navigate the scale (2:40)
• Repeat the above steps for all types of scales (2:45)
Refer to the next section for transcriptions.
Elite Music Mentor Mike Moreno 78
6 Hearing the Rhythm & Scales - Transcriptions Part I
Elite Music Mentor Mike Moreno 79
6 Hearing the Rhythm & Scales - Transcriptions Part II
Elite Music Mentor Mike Moreno 80
6 The Art of LinearImprovisation
HEARING THE RHYTHM & SCALES
Homework
ASK YOUR MENTOR
• On the staff paper on the next page, create 10-15 different lines for various scale types - major, minor, diminished, augmented, and their modes.
• Annotate the different tensions in the scales by interval and include the corresponding chords which compliment or include those tensions.
• • The goal is to become comfortable navigating one scale so that you can connect various harmonies in a chord progressions.
Interact with other users on the website and ask questions! Our mentors will answer all your questions and help you through your musical journey. The best student will beselected each month to recieve one free masterclass of their choice.
Elite Music Mentor Mike Moreno 81
6 Hearing the Rhythm & Scales - Create Lines
Elite Music Mentor Mike Moreno 82
Related Documents
