Song 12 FEELING GOOD Song | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | ?? |

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S 12.1 - Scale-tone Chords of the Major scale

I broached the subject of scale-tone chords in Session 4.
Scale-tone chords that belong to the same major scale spell out the tonality (and identify the tonic) of that scale. Here are the scale-tone triad chords for the C major scale.

Audio 12.1

When the chord progression of a song contains triad chords it is sometimes appropriate to expand the chord to a 4-note seventh chord.
Be aware that the quality of the expanded chord depends on that chord's function (expressed as a Roman numeral) in the scale.

Audio 12.2

It is essential to learn to recognise scale-tone chord segments within the chord progression of a song, for that forms the basis for selecting the appropriate scale for improvisation.

• If the major triads of C, F and G are prominent over a section it outlines the C major scale (C=I , F=IV , G=V).
Use over that area the C major scale for improvisation.

• If the major triads of C, F and Bb are prominent over a section it outlines the F major scale (F=I , Bb=IV , C=V).
Use over that area the F major scale for improvisation.

Audio 12.3

The same principle applies when expanding the chord quality from a triad to a seventh chord. Identify the scale that covers the chord progression (or part of the chord progression) of the song and the functions of each chord within that scale. Then expand the chord quality accordingly.

• If the major triads of C, F and G are prominent over a section it outlines the C major scale (C=I , F=IV , G=V). Expand the chords to :
C= I = Imaj7 = Cmaj7
F= IV = IVmaj7 = Fmaj7
G= V = V7 = G7

• If the major triads of C, F and Bb are prominent over a section it outlines the F major scale (F=I , Bb=IV , C=V). Expand the chords to :
F= I = Imaj7 = Fmaj7
Bb= IV = IVmaj7 = Bbmaj7
C= V = V7 = C7.

Audio 12.4
(Played 1 octave lower as written.)

The chord function also defines the appropriate scale for improvisation over the minor chords. For example :

• When Dm or Dm7 forms part of a C major scale segment in the song it functions as a IIm7 chord.
Use the Dorian mode (C scale starting on D = D E F G A B C D) for improvisation.

• When Dm or Dm7 forms part of a F major scale segment in the song it functions as a VIm7 chord.
Use the Aeolian mode (F scale starting on D = D E F G A Bb C D) for improvisation.

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S 12.2 - Feeling Good

Feeling Good is a 32 bar song in the key of C major in the familiar AABA format. The chord progression, which consists entirely of scale-tone triads of the C major scale, is quite similar to @Paradise.au from Session 4. The first 4 chords of the two songs are identical in their functions (I, VIm, IIIm and IIm) in two different keys (C and Bb).

The melody of the first 4 bars of the 'Feeling Good' A section is pitched at a distinctly higher level compared to the second 4 bars. A good ploy which can also be applied to create interest in an improvisation.

Melody

The bridge consists of a repeated 2 bar rhythmic motive (which also occurs in bars 5 and 6 of the A section).

Audio 12.5

You can expand the G triad to a G7 chord in the Feeling Good chord progression, but the other chords are best kept as triads. This maintains the nice clear quality of the song. (The same goes for @Paradise.au).

Follow the standard song Practice Schedule before you start improvising. Use the C major scale for improvisation over the entire song (you can also use non scale- tones as in Session 11).

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S 12.3 - Phrasing : Using Triplet Quavers

 Most medium and up tempo Jazz standards have an underlying triplet feel to their rhythm. This is reflected in the so- called swing quavers, where each downbeat quaver is held for two thirds of the beat, and offbeat quavers for the remaining one third of each beat. (At higher tempos this division becomes slightly distorted moving to a ration of approximately 64% - 36%).Offbeat quavers that are followed by a rest are usually played staccato (very short).

Triplet quavers are the second expression of this swing feel.
I have included a page with Rhythm Patterns (RP4) containing triplet quavers.

Audio 12.6
(I play all rhythms of RP4 using chord root tones of 'Feeling Good.)

You can use all sorts of musical elements for your improvisation triplets, such as :
1. repeated notes
2. scale runs
3. chromatic scale runs
4. an arpeggio
5. a repeated 3-note pattern using the same notes
6. a scale-tone or arpeggio pattern that moves up or down through a scale.

Patterns of triad arpeggio triplets as outlined below (JF12.4) are an example of 6 above. These can be very effective in your improvisation. (Try them over the Am chord of the 'White Knight' in Session 17.)

Included in this session some tracks swapping fours.

• On Feeling Good 1 - I play the first 4 bar phrase, you play the next 4 bar phrase, I play the following 4 bars, you again the next and so on.

• On Feeling Good 2 - You play the first 4 bar phrase, I play the next 4 bar phrase, You play the following 4 bars, I again the next and so on.

• On Feeling Good 3 - you can listen to the combined result, where I play the entire solo.

The tracks include a great number of triplet quavers. Try to work out their rhythm patterns and also what notes I selected for them.

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S 12.4 - Practice : Scales in Triad Arpeggios

Practise the major scales in all 12 keys in scale-tone triad arpeggios.
There are two different patterns you should work on. They are shown below. Try to play these from memory. If you find this difficult at first you can write out the patterns on manuscript paper, but avoid using this as soon as possible.
Also included two pages with scale-tone triads in all keys for reference.

Pattern 1 : 1 3 5 - 2 4 6 - 3 5 7 - 4 6 8

Audio 12.7

Pattern 2 : 1 3 5 - 6 4 2 - 3 5 7 - 8 6 4

Audio 12.8

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S 12.5 - Session Materials

ItemMidi fileSheet music
Feeling GoodDemo P-a-L C instr. Bb instr. Eb instr.
Easy Key for Bb instr. (C)E-PalC instr.
Easy Key for Eb instr. (C)E-PalC instr.
Swapping Fours Feeling Good 1 Feeling Good 2
Swapping Fours (Demo) Feeling Good 3