Gypsy Jazz Student Lesson Fast Improvisation Tools 7 by gypsyjazzstudent

Fast Improvisation Tools

Written By Daniel Barak

Preface.......................................................................................................................4 BASIC TOOLS.............................................................................................................5 Tool 1: Minor 7 over diatonic major.................................................................5 Tool 2: Start to play arpeggios with the 3rddegree............................................6 Tool 3: Play parts of the major scale.................................................................6 Tool 4: Use the "Jazzy" sounds6, 9, 3...............................................................6 Tool 5: 3 note chromatic approach to the 3rd and then 1 and 6.........................6 Tool 6: Use the "Jazzy" sounds 3, 4, 6...............................................................7 Tool 7: Use the "Jazzy" sounds of a minor 3, 7, 9, & higher octave 3,4.............7 Tool 8: Start to play arpeggios with the 5th degree...........................................7 Tool 9: Use 2 notes intervals of the diatonic chord...........................................7 Tool 10: 4th degree Dominant 7 arpeggio over a minor chord...........................8 Tool 11: Diminished arpeggio over a minor chord............................................8 Tool 12: 6 to flat 3 and then 3,5, and major 7...................................................9 Tool 13: Major scale over a minor chord..........................................................9 DOMINANT 7 TOOLS..............................................................................................10 Tool 1: Minor 6 or 7 over dominant 7 chord...................................................10 Tool 2: Minor over dominant 7 chord.............................................................11 Tool 3: Diminished over dominant 7 chord.....................................................11 Tool 4: Mixolydian 9b/13b over dominant 7 chord.........................................11 Tool 5: Play the 7, b5, 9, 6 degrees.................................................................12 Tool 6: Play part/pattern from the whole tone scale......................................12 2|Page Copyright ÂŠ 2016 GypsyJazzStudent.com All rights reserved.

Tool 7: Play the Tritone Substitution..............................................................12 TENSION, TRANSITION, AND RESOLVE TOOLS......................................................13 Tool 1: X#7/9 diminished and the 6th degree,with a resolve to X....................13 Tool 2: Sharp 5th degree and the flat 3rdor flat 9th degrees..............................13 Tool 3: Create anticipation for the next chord in the progression...................13 Tool 4: Play a diminished 7 arpeggio over the same flat diminished chord.....14 SPECIAL SOUND TOOLS.........................................................................................15 Tool 1: b5 over a dominant chord..................................................................15 Tool 2: Play the#5, i.e. Augmented,over a diatonic or dominant 7 chord.......15 Tool 3: Play a diminished arpeggio in Django's one note per string pattern....15

Preface This series of tools will give you the "building blocks" (i.e. Tools), that you can use to build your improvisations. Simply use the mind map system described at our forum, blog, and newsletters, to build your improvisations in a creative way. Building your improvisation using the mind map system is like creating a blueprint for a house, you start on the foundations and then go on to build the walls, the roof, etc.... Note that this tools, lesson will be updated all the time as new lessons will be published, so stay tuned and we will notify you on every update. After you will create one mind map for one of your improvisations, the process will become easier as you do it again and again. The final goal you should strive to achieve, is to be able to create the mind map IN YOUR MIND and in real time and not on paper when you have time to plan it before you actually use it. This is what the master players do, they plan very quickly in their minds and they change the tools they are using very quickly while choosing the correct timing to use them in relation to the underlying harmonic structure of the song / musical piece, that they are playing. Use the tools in this lesson to create a mind map as follows: 1.) Grab a piece of A4 paper and write the chords of the progression, each chord inside its own circle. Make sure to leave enough space between the circles so that you will be able to add more circles around and between them. 2.) Start to build the "story" of your improvisation. Start with the beginning of the story by using the BASIC TOOLS. You don't have to apply some tool all the Time, sometimes just play the same chord's arpeggio as you see in the progression of the song / musical piece, just make sure to play the arpeggio in an interesting way ,for example, by using some of the "jazzy sounds" tools. 3.) Use a SPECIALSOUND TOOL from time to time ,to make the story of your improvisation more interesting. 4.) Use a TENSION AND RESOLVE TOOL right before a chord change or when the progression change from A part to the B (or any other shift from some part to 4|Page Copyright ÂŠ 2016 GypsyJazzStudent.com All rights reserved.

the other). Or use this tools over a long progression of the same chord like for example in the "Huneysuckle Rose" song, this will create and interesting movement inside your improvisation. 5.) Use someDOMINANT 7 TOOL over a dominant chord. BASIC TOOLS Tool 1: Minor 7 over diatonic major Over a major diatonic chord, for example A, E6, D6/9, G, etc..., you can play the arpeggio, or parts of it, of a minor 7 chord that is located 2 degrees BEFORE and AFTER the diatonic chord. The related minor chord BEFORE has the same notes of the major diatonic chord with the addition of the 6 degree. The related minor chord AFTER has the same notes of the major diatonic chord with the addition of the major 7 and 9 degrees. For example, over G chord , you can play the arpeggio, or parts of it, of the E minor 7 chord Or B minor 7 chord. This tool can be depicted graphically as follows (for example, in the G diatonic chord):

=Em7 E

=Bm7 B

You can apply this tool in various ways , for example in the "Honeysuckle Rose" lesson at 05:32 you can see how Paulus starts to play over F major chord with F major 7 arpeggio and then play over the D minor 7 arpeggio with a typical gypsy style octave jump ending, the finish is on C. Another example is in the "Django's Tiger" lesson at 02:31 and 24:04 when Paulus play the F# minor 7 arpeggio after playing A major 7 arpeggio. You can also apply this tool in a very interesting way when you start to play an arpeggio (or part of it) of one of the related minor chords and then end with the arpeggio (or part of it) of the diatonic chord. For example in the "Honeysuckle Rose" lesson at 04:36 you can see how Paulus starts to play over the A minor 7 chord's arpeggio and descends until the F and then end the phrase with the F major 7 arpeggio, and the same at 10:38 with Gminor 7 over Bb chord. Note that when you apply this tool you should always end the phrase you play on one of the degrees of the diatonic chord because if you stay too long on one of the related chord's minor arpeggios, the sound will tend to be more minor due to the "minoric" relation between the notes of these arpeggios, so you must make 5|Page Copyright ÂŠ 2016 GypsyJazzStudent.com All rights reserved.

sure to keep the "majoric" sound in the ear of the listener by ending on one of the degrees of the diatonic chord (like you see in the example above from "Honeysuckle Rose" lesson at 05:32, when the phrase ends on C which is the 5th degree of F chord). Tool 2: Start to play arpeggios with the 3rddegree Start to play many of your arpeggios over the 3rddegree of the underlying chord. For example, if the underlying chord is G diatonic chord, you can start over the note B.You can start on the first degree in various ways, for example: *Play an enclosure around the 3rd degree of the chord , for example in "Honeysuckle Rose" lesson at 03:42 when Paulus plays an enclosure Around the 3rd degree of the G minor chord (B). *Start to play a half tone below the 3rddegree and then slide to (or play) the 3 Degree. *Start to play a trill with the 3rddegree and the 4thdegree and then slide a half tone back and play an enclosure. *Play achromatic ascend or descend to the 3rd degree. For example "Honeysuckle Rose" minute 9:53 when Paulus play a 3 note chromatic descend to the 3 rd degree of the C minor chord. Tool 3: Play parts of the major scale Play parts of the major scale of the diatonic major chord. For example in"Django's Tiger" lesson at 4:17 and 24:07 when Paulus play on the A major scale, starting from E. Or in "Shiek of Araby" lesson at 00:22 and 02:57 when Paulus is playing part of the Bb major scale over the Bb6/9 chord and ends it with the 5, 3, 1 and 5 of the lower octave. Tool 4: Use the "Jazzy" sounds M7, 6, 5 or M7, 5, 6 Play the major 7 sound in combinations with the 6, 9, 3 degrees of the diatonic major chord. For example in "Djangology" lesson at 00:45 when Paulus play over a G major 7 arpeggio that ends with a major 7 (F#), 5th degree (D), and the 6th degree (E). Tool 5: 3 note chromatic approach to the 3rd and then 1 and 6 6|Page Copyright ÂŠ 2016 GypsyJazzStudent.com All rights reserved.

Play a 3 note chromatic approach to 3rd degree and then the 1st degree and the 6th degree on a higher octave. For example, in "Honeysuckle Rose" lesson at04:19 and 7:06 when Paulus play over C7/9 chord. You can also apply this tool over dominant 7 chords and diatonic chords. Tool 6: Use the "Jazzy" sounds 3, 4, 6 Use a combination of the 3, 4, 6 degrees of a chord you play improvisation over. For example in "Django's Tiger" lesson at 05:00 and 24:08 when Paulus plays over A chord, a half tone approach to the 3rd degree (C#) and an enclosure around the 4th degree (D). Then a half tone approach to the 6th degree (F#) one octave lower and approach from half tone above the 3rd degree (C#). Tool 7: Use the "Jazzy" sounds of a minor 3, 7, 9, & higher octave 3,4 This tool sounds very good over a minor chord due to the fact that the 9 of a minor chord is only a half step below the 3rd degree. For example, in "Nuages" lesson at 28:18 when Paulus starts to play over A sharp minor 7 chord with a half tone approach to the 3rd degree and then the 5th, 7th, and sliding from the 9th degree to the 4th degree and then the 3rd degree on a higher octave. Tool 8: Start to play arpeggios with the 5th degree This is the same idea as tool number 2 above, but with the 5th degree. For example, in "Honeysuckle Rose" lesson minute 5:56 when Paulus starting to play with a half tone approach to the 5th degree of the G minor chord, i.e. D.

Tool 9: Use 2 notes intervals of the diatonic chord It is beautiful to use, from time to time, 2 note intervals of the diatonic chord, you can use the 1st degree and the 6th degree, or the 1st degree and the 3rd degree, or the 1st degree and the 5th degree, or similar combinations. You should also consider playing these 2 notes with a 3 frets ascend from BELOW the target interval degrees, or a with a 3 frets descend from ABOVE the target interval degrees. For example, in "Honeysuckle Rose" lesson at05:48 when Paulus play the 2 interval notes of the G minor chords (1st degree G and 3rd degree BB) with a 3 frets descend from ABOVE. 7|Page Copyright ÂŠ 2016 GypsyJazzStudent.com All rights reserved.

Tool 10: 4th degree Dominant 7 arpeggio over a minor chord You can play a dominant 7 (or 7 and 9) arpeggio (or part of it) over a minor or a minor 6 chord. The dominant 7 chord is located on the 4th degree of the minor chord. For example, in "Honeysuckle Rose" lesson at09:54 when Paulus play part of the F7 dominant arpeggio over C minor. OR another example in "Hungaria" when Paulus play part of the E7 dominant arpeggio over B minor 6 chord. 1

4 2

=F7 (or F7/9)

You can see the F7 or F7/9 contains the notes of the C minor chord including the minor 3rd degree, 4th degree(F) and the 6th degree (A). F7/9 = F, A, C, Eb, G. This is how your improvisation will sound more creative and interesting when you play F7 or F7/9 instead of just the regular C minor arpeggio. Tool 11: Diminished arpeggio over a minor chord Due to tool number 10 above, you can also play the diminished 7 arpeggio that starts from the 3rd degree of the dominant chord located on the 4th degree of the minor chord. But to make it easy to remember you can use the following rule: over a minor chord you can play a diminished arpeggio that starts on its 6th degree. For example, on C minor chord you can play A diminished arpeggio, on A minor chord you can play F# diminished arpeggio, over G minor you can play E diminished arpeggio, over D minor you can play B diminished arpeggio, over E minor you can play C# diminished arpeggio, etcâ&#x20AC;Ś The diminished arpeggio has the 6, 1(the root), minor 3rd, and flat 5 degrees of the minor chord. A nice example of this rule is found in "Shiek of Araby" lesson at 09:32 when Paulus is playing F# diminished arpeggio over A minor chord. 8|Page Copyright ÂŠ 2016 GypsyJazzStudent.com All rights reserved.

Tool 12: 6 to flat 3 and then 3,5, and major 7 This is a beautiful phrase, you can use it on any major chord. For example in "Django's Tiger" lesson at 22:13 when Paulus play over A major chord, he descends from the 6th degree (F#) all the way to the flat step 3 (C) and then play the 3rd, and then the 5th, and end on the major 7 (G#). Learn to play it in all of the positions of some chord on your guitar and you'll have a powerful tool for your improvisations. Tool 13: Major scale over a minor chord This is a beautiful tool to add to your tools bank. Over a minor chord, you can play a major scale that is located one tone below. This is a classic example of using the Dorian mode. This mode simply means, to play a major scale over a minor chord. For example, in "Shiek of Araby" lesson at 00:19 and 02:24 when Paulus is playing a phrase from the Bb major scale over Cm chord. Or for example, over D minor chord you can play C major scale. The major scale has the minor 3rd and the 7 th degree inside. For example, the Bb major scale, when played over the C minor chord, has the 7th degree Bb, the root C, the 9thdegree D, the minor 3rd degree Eb, the 4th degree F, the 5th degree G, and the 6th degree A. So you get the following beautiful sounds over the minor chord:7th, 9th, minor 3rd, 4th, 5th, 6th

DOMINANT 7 TOOLS Tool 1: Minor 6 or 7 over dominant 7 chord This is a very powerful tool that you can apply a lot when you play over dominant 7 chords. Over a dominant 7 chord, for example G7, D7/9, A13, E7/9, etc... , you can play the arpeggio, or parts of it, of a minor 6 or 7 chord that is located 5 degrees AFTER the dominant chord. This tool can be depicted graphically as follows (for example in the G7 dominant chord): 1

=Dm6 or Dm7

For example, according to this tools, you can play Bm6 over E7 chord, Em6 over A7 chord, Am6 over D7 chord, Gm6 over C7 chord, etc... The related minor 6 chord has notes of the dominant 7 chord, but with the addition of the 9th degree. For example, D minor 6 has the notes D, F, A, B, so you can see that the 7th degree F of G7 chord is here, and also the 3rd degree B of G7 chord, is here, and the 9th degree A, of G7 chord, is here to give the special 9 sound. And if you play the 7th of the D minor 7 chord, you'll have the 4th degree that gives the 11th sound (it sounds good, try it). You can see this tool applied, for example, in "Honeysuckle Rose" lesson at minute 11:36 when Paulus play D minor 7 arpeggio over the G7 dominant chord.Or in "Honeysuckle Rose" minute 11:57 when Paulus play G minor 7 arpeggio over the C7 dominant chord.Another beautiful example of this tool is found in the "Django's Tiger" lesson at 06:05 and 24:11 where Paulus plays B minor 7 over E7/9 chord and sharp B minor 7 over E#7/9 chord. Note that the minor 6 chord is the same as the half diminished (or minor 7 flat 5 chord) located on the 3rd degree of the dominant chord. In the example above, Bm7b5 located on the 3rd degree of G chord(B) is the same as the Dm6 chord. This tools sound good when the next chord in the progression is a major or dominant chord. Note that when you apply this tool you should always end the phrase you play on one of the degrees of the dominant 7 chord because if you stay too long on one of the related dominant 7 chord's minor 6 arpeggio, the sound will tend to be more minor due to the "minoric" relation between the notes of these arpeggios, so you 10 | P a g e Copyright ÂŠ 2016 GypsyJazzStudent.com All rights reserved.

must make sure to keep the dominant 7 sound in the ear of the listener by ending on one of the degrees of the dominant chord (like you see in the example above from "Honeysuckle Rose" lesson at 11:36, when the phrase ends on B which is the 3rd degree of G7 chord). Tool 2: Minor over dominant 7 chord Over a dominant 7 chord, for example G7, D7/9, A13, E7/9, etc... , you can play the arpeggio, or parts of it, of a minor chord that is located 1 degree (or one tone) BEFORE the root of the dominant chord. For example, you can play F minor over G7, Bb minor over C7, D minor over E7 , etc... For example in "Nuages" lesson at minute 35:01 when Paulus play F minor arpeggio over G7chord. The minor arpeggio has the flat 9thdegree of the dominant chord, its 7th degree and 4th degree. This tool is usually applied with the minor triad but you can try to add the minor 6 or experiment with other sounds of the minor chord. Another beautiful example is in "Nuages" lesson at 51:27 when Paulus plays A minor 6 arpeggio over B7 (or F# half diminished chord, which is B7/9). Tool 3: Diminished over dominant 7 chord Playing a diminished arpeggio over a dominant 7 chord, includes the Flat 9 th degree of the dominant 7 chord. You can start to play the diminished arpeggio from the 3rd or 5th or 7th , or flat 9th degrees of the dominant 7 chord. This tools usually sounds good when the next chord in the progression is a minor chord. For example in "Hungaria" lesson at 00:21 when Paulus plays a diminished arpeggio over E7 chord. Tool 4: Mixolydian 9b/13b over dominant 7 chord Play the Mixolydian 9b/13b scale or part of it over a dominant chord. It is easier to find the related harmonic minor scale to know on what scale you should play. The Mixolydian 9b/13b related harmonic minor scale is located on the 4th step of the dominant chord. For example if the dominant chord is G7, the 4th step of G is C, so you should play the C harmonic minor scale. If the chord is E7 you should play the A harmonic minor scale, If the chord is A7 you should play the D harmonic minor scale. Practice the Mixolydian 9b/13b scale according to the lesson at our web site and you'll have it quickly under your fingers. A beautiful example to this tool is found in the "Hungaria" lesson at 00:39 and 8:30 when Paulus play the A harmonic minor scale over the E7 chord. 11 | P a g e Copyright ÂŠ 2016 GypsyJazzStudent.com All rights reserved.

Tool 5: Play the 7, b5, 9, 6 degrees To create a special sound over a dominant 7 chord, you can play the 7 of the dominant chord (the 7th degree of a dominant 7 chord is b7), then the b5 to create a special sound and then to end with the 9th degree and the 6th degree of the dominant chord. For example, in "Honeysuckle Rose" lesson at 10:54 when Paulus play F, Db, A, E over the G7 dominant chord. Tool 6: Play part/pattern from the whole tone scale Check out the whole tone scale lesson at our web site. This scale has a very special and unique sound when played over a II7 dominant chord, For example E7 chord is the II7 of D. You can find many possible phrases inside the whole tone scale so you should explore it to find more creative ideas for your improvisations. When played over a dominant 7 chord the whole tone scale will have the #9th, b5th, b6th, 7th degrees. Tool 7: Play the Tritone Substitution Over a dominant 7 chord, you can play the dominant 7 arpeggio, of its flat 5 th degree. For example over A7 you can play the Eb7 arpeggio, over E7 you can play the Bb7 arpeggio, over C7 you play the Gb7 arpeggio. Make sure to keep the dominant 7 sound in the ear of the listener by ending on one of the degrees of the original dominant 7 chord, i.e. the root, 3rd, 5th, or 7th degrees. For example, in "Coquette" lesson at 06:16 when Paulus play the Eb7/9 chord over the A7 dominant chord (you can add the 9 or 6 i.e. 13, etc..., to embellish the Tritone substitution chord as you wish).

TENSION, TRANSITION, AND RESOLVE TOOLS Tool 1: X#7/9 diminished and the 6th degree, with a resolve to X "X" is any major diatonic chord, for example D, G6, E6/9, F6/9,etc... For example, in "Honeysuckle Rose" lesson at 07:17 when Paulus plays F#7/9 triad and then starts to play a diminished arpeggio starting from the 7th degree of the F#7/9 chord, E, and ends on the 6th degree of F#7/9, Eb. This creates tension that "wants" to resolve back to F and indeed Paulus plays the F by using the A minor arpeggio (see tool number 1 above). Tool 2: Sharp 5th degree and the flat 3rdor flat 9th degrees A good example of this tool is found in "Hungaria" lesson at 00:29 and 4:26 when Paulus plays the sharp 5th degree and the flat 3rd degree of the Bb diminished chord. He plays it after playing over the G arpeggio in an interesting way. This creates a movement inside the G chord and leads the listener's ear towards a movement that "wants" to resolve into A minor 7 chord that comes next. This movement is directed to A minor 7 because the Bb diminished chord "leads" to the resolve over A minor 7 chord. Then at 00:31 Paulus is playing the exact same thing over A minor 7 and D7/9 chords, but this time it is the flat 9 thdegree of D7/9 (Eb) and then sharp 5th degree (A#) of the D7/9 chord. Tool 3: Create anticipation for the next chord in the progression Play a phrase to create anticipation for the next chord in the progression. A beautiful example of this tool is found in the "Hungaria" lesson at 00:38 and 7:21 when Paulus plays over some of the G major scale and in the last 4 beats of the G chord he plays a diminished arpeggio starting with G#. This creates anticipation to E7 chord that comes next in the progression. It also creates tension that resolves over the E7 chord. Another nice example for this tool is in the “Sheik of Araby” lesson at 00:33:27 and 07:53 when Paulus plays over some of the Bb major scale, and in the last 2 beats of the Bb chord he plays a diminished arpeggio starting with B. This creates anticipation to G7 chord that relates to the C minor that comes next in the progression. Check out the Mixolydian b5b13 lesson at our web site to understand this relation. 13 | P a g e Copyright © 2016 GypsyJazzStudent.com All rights reserved.

Tool 4: Play a diminished 7 arpeggio over the same flat diminished chord When the progression of the song or musical piece, is for example as in “Sheik of Araby”, Bb over D, Db diminished, Cm7. You can play in your improvisation over the Bb arpeggio and then a D diminished arpeggio(instead of Db arpeggio), and finish over C minor 7 arpeggio. The reason for this is that the transition from Bb to Cm can be done in 2 ways: 1.) Going DOWN from D (in the base of the Bb over D chord), to Db (in the base of the Db diminished chord) and then end over C (in the base of the C minor chord). In this case you can use Db diminished arpeggio to transition to the C minor chord. 2.) Going UP from D (in the base of the Bb over D chord), to D by playing the D diminished (and NOT the Db diminished), and then end over Eb (in the base of the inversion of the C minor chord i.e. C minor over Eb = Cm/Eb). In this case you can use D diminished arpeggio to transition to the C minor chord. This tool can be depicted graphically as follows (referring to the Bb,Db dim,Cm) :

=Cm C

Db Diminished

D Diminished

Bb/D Going DOWN

Going UP

=Cm Ebb

A very good example to this tool is in “Sheik of Araby” lesson at 00:25:17 and 04:19 when Paulus plays a D diminished arpeggio over Db diminished chord. Although you may think it will not sound good, in practice it sounds good because it leads the listener’s ear to the transition from Bb over D, to D diminished, and to Cm7. It is the same transition but in the opposite direction. This transition progression is very common and used in many songs, for example in “Django’s Tiger“ the progression is : A over C#, C diminished, Bm. Or in “Hungaria” and “Djangoloy”the progression is: G over B, Bb diminished, Am7, etc... This is why this tool is so useful to use in many songs. 14 | P a g e Copyright © 2016 GypsyJazzStudent.com All rights reserved.

SPECIAL SOUND TOOLS Tool 1: b5 over a dominant chord Play the b5 sound over a dominant chord to create an interesting sound. For example, in "Honeysuckle Rose" lesson at 11:30 when Paulus play the b5 (Db) over the G7 dominant chord. Or another example from "Nuages" lesson at 51:29 when Paulus play the b5 (F) over the B7 dominant chord. Tool 2: Play the #5, i.e. Augmented, over a diatonic or dominant 7 chord Play the #5 sound over a chord, it gives a special sound that leads the listener's ear in a special way. This tool sounds especially good over a dominant 7 chord, for example in "Djangology" lesson at 00:22 when Paulus is playing over D7 chord. He starts to play from the major 7th (C#) of the D7 chord then he plays the root (D) , the 3rd degree (F#), and the sharp 5th degree (A#). Tool 3: Play a diminished arpeggio in Django's one note per string pattern For example, in "Django's Tiger" lesson at 18:49 when Paulus play over 1 bar of D# diminished chord, starting from C and playing one note on each string. This is a famous pattern that Django used a lot. Practice playing over diminished chords in this one note per string pattern. It sounds good when you start it on the D string. Use it in your improvisations and you will sound amazing. Note that you can start with a slide from half tone below the note that starts this arpeggio in the same way as you see in the example above (a slide from B to C).