John Scofield On Improvisation Pdf

Apr 10, 2012 - I 've just transcribed and recorded on my Tele great Scof c melodic minor line from 'On Improvisation ' video. It sounds like nice melodic minor.

Al Fiqh Al Muyassar Pdf Writer more. Scales First Scofield's basic approach to learning a song—besides playing it all the time—is getting comfortable with the chord changes, first by playing the appropriate scales in time over the changes, connecting them at the chord change. He doesn't stop and try to phrase or play musically, he just keeps moving, changing position and scale as the new chord hits. PDF available below Here's an example of him doing it over Stella by Starlight which is the tune he uses throughout the clinic. Descargar Musica Gratis Mp3 Para Ps Vita there. You'll see if you look carefully, he doesn't do this perfectly. There are a couple passing tones here and there and some ambiguous sections where it appears to me he's killing time in order to hit the next chord change., this is encouraging.

This is hard to do and certainly hard to do perfectly. It's also the same general idea that Kurt Rosenwinkel explains in a while ago. The idea of being able to move scales through chord changes fluidly. Some of Scofield's choices are interesting. For instance, in bar 10 he plays Bb Melodic Minor through both chords, even though E-7b5 is not diatonic to the scale. Jamal Urban Discotheque Rar Chomikuj Szukaj.

However it works great over the A7alt so I wonder if he's just not bothering with being correct in order to introduce more chromaticism or if he made a mistake. Similarly he plays F Major all the way through bars 13-14, with the scale not being appropriate for the A7alt, even though the notes are all technically fine. What's interesting is in this exercise he really only employs two scales, the Major and the Melodic Minor throughout the entire tune with one use of the Diminished at bar 28. Scofield explains really well what the point of learning scales is: The way you learn this stuff is learning scales, learning patterns and experimenting with them. You know I don't know anybody that's really gotten good at playing tunes or any of this stuff from just taking the scales [and playing them over a tune]. This stuff all comes after listening and learning about Jazz music from listening to records and listening to other people play it's just you know, music.What these scales do, to me, is they lead you into almost, chromaticism—that's what the Diminished scale does. You know, chromatic type of freedom, nobody really just plays the scales.

Jul 3, 2013 - Click here to download MP3s and a printable PDF of this lesson's notation. There are endless renditions of this fantastic tune to check out, including the classic version recorded by Jaco on The Birthday Concert, along with various YouTube versions from the likes of John Scofield and Mike Stern. On improvisation shows critically acclaimed Scofield in a clinic format covering such topics as the use of seventeen major modes and scales, chromatics, pa. As you study from The Art of Improvisation and practice its exercises. Guitar John McLaughlin, John Scofield, Allan Holdsworth, Jim Hall, Pat Metheny, Mike Stern.

Arpeggios Second Next he works on playing arpeggios over the changes which as I've noted before is essentially PDF available below His first go at it however hits a few bumps. It's not strictly an arpeggio or chord tone solo as he adds in some scale lines. He also hits some rhythmic snags because of the way he phrases some of his lines.

I attempted to transcribe it as faithfully as I could while keeping the fairly obvious spirit of what he was shooting for. All the notes are there but you might have a slightly different interpretation of how the lines lay if you transcribe it yourself. Scofield says: 'Um, I think I stopped playing arpeggios at one point. [he did] But basically. That was tertial, in other words going up and down in 3rds, which is not that far from 2nds [meaning scales], you know? I mean if I'm moving in scalewise motion it's just moving half or whole.

But, the arpeggios are made up of 3rds, right? Chord tones in 3rds and my improvisation there was, I think all 3rds but you don't always start on the root and you can go up and down at will, so.' PDF available below He then goes on to play another example of a solo based on arpeggios, though again he still includes some non chord tones. He also does some really nice anticipations of some of the harmonies coming from the bebop style of targeting chord tones, for instance at the end of bar 4 and bar 28. After this solo he answers a number of questions and speaks a bit about transcribing.