HI MY FRIENDS,

THANK YOU FOR THE INTEREST YOU’VE SHOWN FOR JAZZ IMPROVISATION. I’M REALLY GLAD TO BE HERE AGAIN AND TO BE A PART OF BASS MUSICIAN MAGAZINE’S PRESTIGIOUS STAFF… THIS MAGAZINE JUST GETS BETTER AND BETTER. I THANK YOU FOR THE POSITIVE FEEDBACK YOU’VE SHARED AND FOR THE INSIGHTFUL QUESTIONS. REMEMBER THAT THIS IS A COMPLETE COURSE ABOUT IMPROVISATION, SO STAY TUNED DURING THE NEXT FEW MONTHS.

IN THE LAST LESSONS, WE TALKED ABOUT MAJOR 7TH, MINOR 7TH, AND DOMINANT 7TH CHORDS. I HOPE YOU TOOK THE TIME TO PRACTICE IT IN ALL KEYS SO YOU’RE READY TO USE IT UNDER ANY HARMONIC STRUCTURES. YOU’LL SEE THESE CHORDS EVERYWHERE AS THEY ARE THE HARMONIC HEART OF MOST ALL OF THE GENRES AND REPRESENT THE MOST COMMON OF CHORD PROGRESSIONS.

BEFORE WE MOVE ON TO EXPLORE OTHER TYPES OF CHORDS, WE WILL PUT IN ACTION THE LINES WE PRACTICED IN PAST LESSONS.

LET’S START WITH TODAY’S LESSON:

1) TAKE A SIMPLE II – V – I PROGRESSION AND PLAY CHORD NOTES OVER IT (D F A C D F A C – F D B G F D B G – C E G B C E G B G E C B G E C)

(Click at the end of the article for lesson in PDF format)

2) TRANSPOSE, AND PRACTICE IT IN ALL 12 KEYS

AS USUAL, FORCE YOURSELF TO PLAY IT VERY SLOWLY AND WITHOUT A METRONOME. AFTER YOU’ VE GOT ALL NOTES UNDER YOUR FINGERS, MAKE SURE TO INCREASE YOUR TEMPO AND CHALLENGE YOURSELF. DON’T BE INTIMIDATED BY A QUICKER TEMPO… IT’S HARD WORK, BUT THE BENEFITS ARE WORTH IT.

I HOPE YOU ENJOY THE EXERCISE. NEXT TIME WE”LL TAKE A LOOK AT SOME NEW CHORDS AND THEIR MELODIC LAYOUT ON THE FINGERBOARD.

HOPE TO HEAR FROM YOU SOON

CIAO

ANDREA

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