IMPROVISATION - by Michael Furstner
Lesson 8 - IMPROVISATION on the MINOR SCALES
______________________________________________________________________________
CONTENTS
8-1. About Minor scales
8-2. 'Where there's Rain'
8-3. Scale practice for 'Where there's Rain'
8-4. Improvisation
8-5. 'Lost in Space'
8-6. The Woodshed
8-7. Quiz 8 (and Answers to Quiz 7)
______________________________________________________________________________
8-1. ABOUT MINOR SCALES
The Dorian mode is the most commonly used minor scale for Jazz improvisation,
especially over isolated minor 7th chords and in so called 'IIm7 - V7' chord
combinations (more about this in Lesson 10).
But there are other minor scales that are at times preferable, especially when
the song is in a minor key.
A minor scale can be defined as a scale that contains a MINOR TRIAD chord as
its tonic chord ( in C : C Eb G).
In other words the scale must contain (measured from the tonic note) :
* a minor 3rd (b3 : Eb for a C minor scale)
* a perfect 5th (p5 : G for a C minor scale)
* it must NOT contain a major 3rd (3 : E for a C minor scale)
Apart from the above anything else goes.
The most common minor (7 tone-) scales in both Jazz and Classical music have
the first five notes of the scale in common (1 2 b3 4 5) but vary in the
choice of their 6th and 7th note.
There are four different combinations possible :
* b6 b7 in C : Ab Bb
* b6 7 Ab B
* 6 b7 A Bb
* 6 7 A B
This produces four different minor scales :
(DEMO 39)
The natural minor scale : 1 2 b3 4 5 b6 b7 1
(also called 'Aeolian mode')
C natural minor scale : C D Eb F G Ab Bb C (C Aeolian mode)
The Dorian mode : 1 2 b3 4 5 6 b7 1
C natural minor scale : C D Eb F G A Bb C
The harmonic minor scale : 1 2 b3 4 5 b6 7 1
C harmonic minor scale : C D Eb F G Ab B C
The melodic minor scale : 1 2 b3 4 5 6 7 1
C melodic minor scale : C D Eb F G A B C
The natural minor scale or 'Aeolian mode is, like the Dorian mode a displaced
major scale.
It is a scale that start on the 6th note of a 'related' major scale.
(DEMO 40)
C Aeolian mode
|<------------------------->|
C D---Eb F G---Ab Bb C
1 2---b3 4 5---b6 b7 1
| |
| |
Eb major scale : Eb F G---Ab Bb C D---Eb F G---Ab Bb C D---Eb
1 2 3 4 5 6 7 1 2 3 4 5 6 7 1
| |
| |
F G---Ab Bb C D---Eb F
1 2---b3 4 5 6---b7 1
|<-------------------------->|
F Dorian mode --- : semitone
The KEY SIGNATURE for any minor key is the one taken from its NATURAL MINOR
SCALE. The key signature of a natural minor scale is the same as its related
major scale.
For C minor key :
The C natural minor scale is derived from the Eb major scale, which has three
flats (Bb, Eb and Ab). The key signature for C minor has also three flats.
The HARMONIC minor (b6 and 7) and MELODIC minor (6 and 7) scales are not
displaced major scales. One or two of their notes are ALTERED.
When you are READING music notation : think of the the harmonic minor scale as
a natural minor scale with a raised 7th.
When IMPROVISING it is perhaps easier to imagine the harmonic minor scale as a
major scale with a lowered 3rd (b3) and a lowered 6th (b6).
When you are READING music notation : think of the the melodic minor scale as
a natural minor scale with a raised 6th and 7th.
When IMPROVISING it is perhaps easier to imagine the melodic minor scale as a
major scale with a lowered 3rd (b3) only.
The melodic minor scale is especially used for altered dominant chords (see my
Scales Book).
The other three scales are often used in songs in MINOR KEYS.
Sometimes all three can be used in the same song like in 'Where there's Rain'.
In the final analysis it is your individual choice (guided by your ear) which
scale you select in each case.
______________________________________________________________________________
8-2. WHERE THERE IS RAIN
'Where there's Rain' is a medium tempo Bossa Nova in the key of C minor.
Play all quavers 'straight'.
It is a 32 bar song in AB format. The A section is the first 16 bars, the B
section the last 16 bars.
Within each section there are similarities in melody for the first 8 bars and
second 8 bars and the chord progressions are exactly the same.
(DEMO 41)
WHERE THERE'S RAIN
(by Michael Furstner)
Cm7 Fm7
--------------------------------------------------------------------
4 G G G G - G - G | - G - G - G Ab | G F | |
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 4 | 1 2 3 4 |
--------------------------------------------------------------------
1 2 3 4
G7 Cm7
--------------------------------------------------------------------
| F F F F - F - B | Ab G F - Eb | | ||
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 4 ||
--------------------------------------------------------------------
5 6 7 8
Cm7 Fm7
-----------------------------------------------------------------------
| Eb Eb Eb Eb - Eb - Eb | - Eb - Eb - Eb F | Eb D | |
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 | 1 + 2 + 3 4 | 1 2 3 4 |
-----------------------------------------------------------------------
9 10 11 12
G7 Cm7
----------------------------------------------------------------------
| D C# D Eb - D - G | F Eb D - C | | G eb d - eb ||
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 3 + 4 + ||
----------------------------------------------------------------------
13 14 15 16
Cm7 Fm7
-----------------------------------------------------------------------
| | G eb f - d | | G d c - d |
| 1 2 3 4 | 1 2 3 + 4 + | 1 2 3 4 | 1 2 3 + 4 - |
-----------------------------------------------------------------------
17 18 19 20
G7 Cm7
-----------------------------------------------------------------------
| d eb f - g | f eb d - eb | | G eb d - eb ||
| 1 + 2 + 3 + 4 + | 1 2 3 + 4 + | 1 2 3 4 | 1 2 3 + 4 - ||
-----------------------------------------------------------------------
21 22 23 24
Cm7 Fm7
-----------------------------------------------------------------------
| | G eb f - d | | G d c - d |
| 1 2 3 4 | 1 2 3 + 4 + | 1 2 3 4 | 1 2 3 + 4 - |
-----------------------------------------------------------------------
25 26 27 28
G7 Cm7
-----------------------------------------------------------------------
| d d eb - f | f eb d - c | | ||
| 1 + 2 + 3 + 4 + | 1 2 3 + 4 + | 1 2 3 4 | 1 2 3 4 ||
-----------------------------------------------------------------------
29 30 31 32
Copyright 1997 Michael Furstner.
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8-3. SCALE PRACTICE for WHERE THERE'S RAIN
The chord progression of the song is formed by three chords, Cm7, Fm7 and G7.
It is perfectly OK to use for improvisation the C Dorian mode over Cm7, the F
Dorian mode over Fm7, and the G Mixolydian mode over G7. But there are other
possibilities.
I would suggest :
* the C natural minor over Cm7 - C D Eb F G Ab Bb C
* the F Dorian mode over Fm7 - F G Ab Bb C D Eb F
* the C harmonic minor (starting on G) over G7 - G Ab B C D Eb F G
(Note that the F Dorian and C natural minor share the same notes)
These are the scales also used for the melody.
Observe for example :
* the Ab in bar 2 over the Cm7 chord,
* the Ab in bar 6 over the G7 chord,
* and the numerous Eb notes over G7 chords.
(The C# in bar is more appropriately defined as a chromatic passing note.)
----------------------------------------------
Compare this with for example the melody 'Dance with Me Annushka' from the
previous lesson.
Here the melody deliberately includes the B natural in bars 1, 2, 3 and 7.
This indicates the use of the D Dorian ( D E F G A B C D) rather than the D
natural minor (D E F G A Bb C D)
----------------------------------------------
But improvisation is all about personal choices and preferences. I suggest you
try both approaches and see which you like best.
It is also possible to use a one chorus using one set of scales and a follow
up chorus use the other scales.
Here a practice routine that includes the C natural minor and harmonic minor
scales.
(DEMO 42)
PRACTICE ROUTINE
Play 3 times to form 1 chorus :
Cm7 Fm7
------------------------------------------------------------------------------
| C D Eb F G Ab Bb c |Bb Ab G F Eb D C |F G Ab Bb c d eb f |eb d c Bb Ab G F |
| 1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 |
------------------------------------------------------------------------------
G7 Cm7
-----------------------------------------------------------------------------
| G Ab B c d eb f g |f eb d c B Ab G |C D Eb F G Ab Bb c |Bb Ab G F Eb D C :||
| 1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 ||
-----------------------------------------------------------------------------
Note that there is one CRITICAL TONE here in the song. It is Bb over the Cm7
and Fm7 chords which becomes B natural over G7.
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8-4. IMPROVISATION
A. PHRASING.
Continue your practice of starting phrase on different points in the bar.
I have included five more Rhythm Patterns (36 - 40) on last lesson's gif file.
After these you are on your own.
Extract rhythm patterns from good Jazz soloists (as mentioned before Charlie
Parker is in my opinion the supreme phrasemaker Jazz has ever known).
Also try to improvise without rhythm patterns, but decide before you start
playing on which point you start each phrase.
(DEMO 43)
Rhythm Patterns 36-40
B. ESSENTIAL CHORD TONES
Compare these three chords :
Cmaj7 - C E G B
1 3 5 7
C7 - C E G Bb
1 3 5 b7
Cm7 - C Eb G Bb
1 b3 5 b7
These three chords all have their tonic (1 : C) and fifth (5 : G) in common.
The difference between these (most frequently used) chord qualities are
spelled out by their 3rd and 7th.
Cmaj7 - E B
1 3 5 7
C7 - E Bb
1 3 5 b7
Cm7 - Eb Bb
1 b3 5 b7
These are what I call THE ESSENTIAL CHORD TONES.
They are the most powerful tones you can use in improvisation. It is therefore
important to be aware of these in you improvisation.
Go therefore back over the songs we have used in this course so far and focus
on these tones. More often than not they also are the 'Critical tones' that
distinguish one scale from another.
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8-5. LOST IN SPACE
I include an extra song in this lesson, 'Lost in Space', a slow rock ballad.
Play all quavers straight.
The format can be defined as ABCA. Each section is 8 bars long.
The A and B sections are very similar, only the melody is shifted up a third.
Once again you have a choice of minor scales.
Here are the options :
Dm : D natural minor D E F G A Bb C D
D Dorian mode D E F G A B C D
Gm : G Dorian mode G A Bb C D E F G
A7 : D harmonic minor A Bb C# D E F G A
A Mixolydian mode A B C# D E F# G A
Bm : B natural minor B C# D E F# G A B
B Dorian mode B C# D E F# G# A B
Em : E Dorian mode E F# G A B C# D E
Eb7 : Eb Mixolydian mode Eb F G Ab Bb C Db Eb
The Bb note in the melody in bar 13 over A7 suggest the D harmonic minor here.
Do not use a harmonic minor scale over the Eb7 chord, it is not appropriate.
(Personally I prefer the Dorian modes over Dm and Bm, it fits in more with
a 'clean' outer space.)
RULE :
When two minor 7th chords are neighbours on the Circle of 5th they share the
same notes in at least one of their minor scales. (The notes of the Dorian
mode for the chord at the anti-clockwise side.)
C natural minor = F Dorian mode
D natural minor = G Dorian mode
B natural minor = E Dorian mode
(I will explain more about the above in Lessons 11 and 12 when we have the
complete picture.)
______________________________________________________________________________
8-6. THE WOODSHED
Keep practising the Dorian mode in all keys.
Place strong accents on all off beat notes.
Here is a Practice Routine combining mode and corresponding chord.
(DEMO 44)
<--------------------- play 2 times ---------------------->
-----------------------------------------------------------------------------
4 C D Eb F G A Bb c | d Bb G Eb C D Eb F | G A Bb c d Bb G Eb :||C | ||
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + :||1..4|1..4 ||
-----------------------------------------------------------------------------
<----- scale ---> <-chord->
You can also reverse the order, playing first the chord up to the 9th, then
the Dorian mode back down.
Good luck. See you next Lesson,
Michael.
______________________________________________________________________________
8-7.QUIZ
A.
Convert these major scales into natural minor scales with the same tonic note
(1st note) by altering three notes of the scale.
1. F G A Bb C D E F
2. D E F# G A B C# D
3. Bb C D Eb F G A Bb
4. G A B C D E F# G
5. E F# G# A B C# D# E
B.
Convert these major scales into harmonic minor scales with the same tonic note
(1st note) by altering two notes of the scale.
1. F G A Bb C D E F
2. D E F# G A B C# D
3. Bb C D Eb F G A Bb
4. G A B C D E F# G
5. E F# G# A B C# D# E
C.
Convert these major scales into natural minor scales ('Aeolian modes') by using
all the same notes and placing them in the correct order.
1. F G A Bb C D E F
2. D E F# G A B C# D
3. Bb C D Eb F G A Bb
4. G A B C D E F# G
5. E F# G# A B C# D# E
D.
Convert these major scales into melodic minor scales with the same tonic note
(1st note) by altering one note of the scale.
1. F G A Bb C D E F
2. D E F# G A B C# D
3. Bb C D Eb F G A Bb
4. G A B C D E F# G
5. E F# G# A B C# D# E
E.
What are the ESSENTIAL CHORD TONES of the following chords.
1. Dm7
2. F7
3. B7
4. Gmaj7
5. Bbm7
6. Am7
7. Fmaj7
8. Emaj7
9. Gm7
10. A7
ANSWERS IN NEXT LESSON
--------------------------------------
Answers to Quiz 7
A.
Convert these major scale into Dorian modes with the same tonic note (1st
note) by altering two notes of the scale.
1. F G (Ab) Bb C D (Eb) F
2. D E (F) G A B (C) D
3. Bb C (Db) Eb F G (Ab) Bb
4. G A (Bb) C D E (F) G
5. E F# (G) A B C# (D) E
B.
Convert these major scales into Dorian modes by using all the same notes and
placing them in the correct order.
1. F G A Bb C D E F ----> G A Bb C D E F G
2. D E F# G A B C# D ----> E F# G A B C# D E
3. Bb C D Eb F G A Bb ----> C D Eb F G A Bb C
4. G A B C D E F# G ----> A B C D E F# G A
5. E F# G# A B C# D# E ----> F# G# A B C# D# E F#
C.
Which Dorian mode consists of white notes on the keyboard only ?
D Dorian mode : D E F G A B C D
D.
Fill in the missing notes in these Dorian modes.
1. A B (C) D E F# (G) A
2. D E (F) G A B (C) D
3. F G (Ab) Bb C D (Eb) F
4. Eb F (GB) Ab Bb C (Db) Eb
5. B C# (D) E F# G# (A) B
______________________________________________________________________________
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Copyright 1997 Michael Furstner. All rights reserved.
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