Improvising With The Diminished Scale: Eric Alexander
This document was uploaded by user and they confirmed that they have the permission to share it. If you are author or own the copyright of this book, please report to us by using this DMCA report form. Report DMCA
Overview
Download & View Improvising With The Diminished Scale: Eric Alexander as PDF for free.
More details
- Words: 3,797
- Pages:
Loading documents preview...
Eric Alexander
Improvising with the Diminished Scale PAGE 1 OF 60
DURATION: TWO CLASSROOM PERIODS
EricAlexanderJazz.com
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
The author represents and warrants that he both owns and has the legal right to publish all material in this book. Improvising with the Diminished Scale All Rights Reserved. Copyright ©2012 Eric Alexander Produced by Bill Rinehart and Jazz Web Development, http://www.jazzwebdev.com 1.2 121812 This book may not be reproduced, transmitted, or stored in whole or in part by any means, including graphic, electronic, or mechanical without the express written consent of the publisher except in the case of brief quotations embodied in critical articles and reviews. http://www.ericalexanderjazz.com
PAGE 2 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Preface I’ve often said that if I could have only one harmonic concept to work with for the next ten years I would have to pick the diminished scale. Both for it’s built-in harmonic precision and for the multitude of sounds that one can generate with it if one understands how to use it properly. In this ebook, I will show players how I like to think about the scale in terms of resolutions in ii-V settings and also how, by it’s construction, the diminished scale is easily transposed and applied to all twelve keys. As you will see in this book, the diminished scale perfectly outlines the tritone relationship between two sets of chord progressions, which is one of the most important, if not THE most important, concept in modern jazz harmony. If you’d like to explore this material further with me, I'm available for one-on-one online lessons via Skype and can be contacted directly for live performances, clinics and workshops. Eric [email protected]
PAGE 3 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Table of Contents Spelling Diminished Scales
6
Use Tritone Relationships
6
Diminished Scales Are Symmetric
8
Exercise 1 Build the diminished scale in all 12 keys
9
Exercise 2 Play the diminished scale in all 12 keys
16
Improvising with the Diminished Scale
17
Applying the Diminished Scale to ii-V Progressions
17
Diminished Scales for Sequential ii-Vs
19
Exercise 3 Play the diminished scale over “Tune Up”
22
Diminished Scales in the Blues Progression
23
Exercise 4 Play the diminished scale over the Blues
27
Exploring the Diminished Scale
28
Answer Keys
Blues solo chorus 1 in C
PAGE 4 OF 60
29 48
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 2 in C
49
Blues solo chorus 3 in C
50
Blues solo chorus 1 in Eb
51
Blues solo chorus 2 in Eb
52
Blues solo chorus 3 in Eb
53
Tune Up chorus 1 in C
54
Tune Up chorus 2 in C
55
Tune Up chorus 3 in C
56
Tune Up chorus 1 solo in Eb
57
Tune Up chorus 2 solo in Eb
58
Tune Up chorus 3 solo in Eb
59
Study Jazz Improv Online with Eric
Online Lessons Available at EricAlexanderJazz.com
PAGE 5 OF 60
60 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Spelling Diminished Scales Use Tritone Relationships It is best to think of tritone relationships to identify diminished scales. To find the C7 diminished scale, for example, think of the first four notes of the C7 mixolydian scale, descending, then the first four notes of the mixolydian scale a tritone away from C7, F#7, descending, as in figure 1.
Figure 1
We can find the same scale in ascending form if we start on the root of the related ii minor chord and play the first four notes of it’s dorian scale followed by the first four notes of the dorian scale a tritone away as in figure 2.
Figure 2
PAGE 6 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
We could actually give the chord progression | G-7 C7 C#-7 F#7 | to both the ascending and descending versions of the scale as in figure 3.
Figure 3
It is important, when descending, to think of the two dominant 7th chords, and when ascending, the two minor 7th chords. Also notice that by just playing the scale for one octave up or down, you’ll get a great resolution to F (major or minor).
PAGE 7 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Diminished Scales Are Symmetric Because of the repeating series of intervals in the diminished scale (whole and half steps), this scale is referred to as symmetric. See figure 4.
Figure 4
The consistent series of intervals limits the number of times the scale can be transposed into different keys. Because of this, symmetric scales are often called scales of limited transposition. The benefit is that there are only three different diminished scales and each scale works over four keys. So to use the scale for all twelve keys you only have to learn three different scales. In figure 5, each succeeding scale starts on the minor third above the root (the second to the last note of the previous scale) and uses the same notes. Effectively, the notes of the C7 diminished scale will work over Eb7, Gb7 and A7.
Figure 5
PAGE 8 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Exercise 1 Build the diminished scale in all 12 keys 1.
The ascending diminished scale for the major ii-7 V7 Imaj7 progression in F is written out for you in the first measure on the staves on page 10.
2.
On measure 5, write the diminished scale, ascending in eighth notes, for the major ii-7 V7 progression a minor third above the first. Write this out again in measure 7. In measure 9 do the same for the progression a minor third above that and then again a minor third above that in measure 13. Chord symbols are provided for you.
3.
Compare your answers to the answer key at the back of the ebook.
4.
After comparing your answers with the answer key, write out the remaining scales starting on Gb and ascending in minor 3rds on pages 11 and starting on G and ascending in minor 3rds on page 12.
5.
Write out the descending diminished scales in the same way starting on page 13. The first scale has been done for you.
PAGE 9 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb
PAGE 10 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb
PAGE 11 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb
PAGE 12 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb
PAGE 13 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb
PAGE 14 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb
PAGE 15 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Exercise 2 Play the diminished scale in all 12 keys 1.
While reading the scales that you wrote out in exercise 1, play the scales with the companion playalong file. NOTE: The scales you wrote out are in Bb concert. If your instrument is in Bb you can read the scales that you wrote out. If your instrument is in C or Eb, you can either sight transpose the scales for your instrument as you play them, read the transposed scales in the answer key or print out additional copies of the writing exercise (pages 10-15) and write the scales for your instrument.
2.
Choose a set of scales to work on and open the corresponding playalong file in Band-in-a-Box, or a music player of your choice (Playalongs are provided in Band-in-a-Box and M4a formats).
3.
For example, to work on the F/Ab/B/D diminished scales in Bb on page 10, open the Eb/Gb/A/C diminished scale playalong file found in the playalongs folder in your Improvising with Diminished Scales download folder.
4.
The playalong will play four choruses of each exercise.
5.
As you play the scales, memorize the notes and the sound of each scale. Try to wean yourself off of reading the scales as soon as possible. As you memorize the scales, start to improvise with them by just playing fragments of the scale, by extending/shortening the rhythm of each note; inverting the octave of the notes, etc. and generally messing with them to create interesting lines.
PAGE 16 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Improvising with the Diminished Scale Applying the Diminished Scale to ii-V Progressions Over a ii-V in F major, you might play something like figure 7. Note: this could also cadence to a minor I chord.
Figure 7
You can use this way of thinking coming from the ii-7 chord as well. In figure 8, C#-7 scale is played over the C7 chord.
Figure 8
This is the best way to think of diminished because you always teach yourself to feel | G-7 C7 | C#- F#7 |.
PAGE 17 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Once you have the tritone relationship in your mind, you can leave the diminished scale and just play tritone transpositions for resolutions, like in figure 9. I’m just taking simple melodies and playing their exact transpositions for the tritone changes!
Figure 9
If you have that tritone progression in mind you can begin to play any type of idea over each change. It’s not essential to play exact transpositions. In fact, one might completely ignore the original chord progression and only solo over the tritone ii-V7 to get to the 1 chord. It’s really about as far “out” as you can get- you just need to make sure that you resolve in a meaningful way.
PAGE 18 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Diminished Scales for Sequential ii-Vs Diminished scales can generate interesting sounds when used in any progression. In figure 8, I used the diminished scale to improvise over the changes to “Tune Up.” This is a perfect tune for trying out two bar resolutions because of the repetitive nature of the progression. Then again, there are so many tunes that we play that give us opportunities like this it’s pointless to even begin mentioning them!
Figure 10 - Transcription of chorus 1 of “Tune Up” using the diminished scale
Phrase #1 is the diminished scale descending from the root of the V7 chord to resolution. Phrase #2 is a sequence of the first four notes of the phrase moved in minor 3rds through the scale until resolution. Phrase #3 is a sequence of the first two notes moved up in minor 3rds until resolution.
PAGE 19 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Figure 11 - Transcription of chorus 2 of “Tune Up” using the diminished scale
Phrase #4 is the diminished scale ascending from the root of the ii-7 chord until resolution. Phrase #5 is a sequence of a simple idea (first four eighth notes) to the tritone ii-7 V7 to get to resolution of Dmaj7. Phrase #6 is a sequence of the initial three note pattern moved down in minor 3rds until resolution. Note the syncopation of this line.
PAGE 20 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Figure 12 - Transcription of chorus 3 of “Tune Up” using the diminished scale
Phrase #7 is a sequence of the initial four note pattern starting on the root of the V7 chord moved in minor 3rds until resolution. Phrase #8 is the same as #7 but ascending and starting on the 9th of the ii-7 chord. Phrase #9 is a sequence of the initial four note pattern moved in minor 3rds. Phrase #10 is a pattern based on the ascending diminished scale with a lower neighbor tone. This solo was recorded at a sound check in Nagoya, Japan in April of 2012. http://youtu.be/urpW5Xpubdk
PAGE 21 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Exercise 3 Play the diminished scale over “Tune Up” 1.
Play the transcription of my solo with the playalong. Either sight transpose the Bb solo from figures 10-12 or read the transposed solo for your instrument in the answer key section of the book below. Memorize the solo to assimilate the vocabulary into your head and hands.
2.
Practice all the hi-lighted phrases for each resolution in all 12 keys!
PAGE 22 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Diminished Scales in the Blues Progression Diminished scales can generate interesting sounds when used in the blues progression.
Figure 5 - Transcription of Chorus 1 of a blues chorus using the diminished scale
Phrase #1 is a four note sequence using the upper neighbor then descending. Phrase #2 is F#º going to C and can also become a longer phrase by adding the first four notes of the descending diminished scale as in figure 5a and move up in minor thirds in each measure.
Figure 5a
Phrase #3 uses the lower neighbor tone then ascends. Phrase #4 is a sequence of the initial four note pattern down a minor 3rd with the last note serving as a chromatic approach to the succeeding four note group. Phrase #5 is a four note phrase composed of descending perfect 4ths sequenced in minor 3rds. Phrase #6 is a four note group sequenced in minor 3rds. Phrase #7 is a variation of figure 5b which can be sequenced in minor 3rds. PAGE 23 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Figure 5b
PAGE 24 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Figure 6 - Transcription of Chorus 2 of a blues using the diminished scale
Phrase #8 and 9 are also variations of figure 5b which too can be sequenced in minor 3rds. Phrase #10 is a variation of #5. I changed the direction of some of the intervals. See figure 6a.
Figure 6a
Phrase#11 and 12 are made up of the initial four note pattern sequenced in minor 3rds.
PAGE 25 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Figure 7 - Transcription of Chorus 3 of a blues chorus using the diminished scale
The first four notes of phrase #13 are an inverted triad of the chord of the moment followed by four notes of the inverted triad a tritone away and then the idea is moved down in minor thirds. Phrase #14 is the same as phrase #3. Phrase #15 is a pattern of pairs of ascending major 3rds sequenced in ascending minor 3rds. Phrase #16 is a one octave run of diminished scale ascending starting on the root of the ii-7 chord. This solo was recorded with Mike LeDonne and Joe Farnsworth at Smoke in NYC on September 12, 2012. http://youtu.be/9bLzX9AaDng
PAGE 26 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Exercise 4 Play the diminished scale over the Blues 1.
Play the transcription of my solo with the playalong. Either sight transpose the Bb solo from figures 5-7 or read the transposed solo for your instrument in the answer key section of the book below. Memorize the solo to assimilate the vocabulary into your head and hands. Of course, the blues is loaded with spots to employ the diminished scale. The first and most obvious is over the movement from the IV7 chord back to the I7 chord, where very often we use the #IV dimished chord to bring us back home. This is really a form of what classical players refer to as the “embellishing” diminished sound. It is not a v7-1 movement and it is actually a topic for another day. Suffice it to say (for now) that in these spots one should use the scale appropriate for C dim7, Eb dim7, F#dim7, and A dim7 chords- that is, the diminished scale that starts with a whole step and begins on any of those notes. Of greater importance, with regard to what we have been working on in this book, is the idea that we can employ the diminished scale any time we have a V7 to I (or i) movement. This happens in at least three spots (not including the turnaround) in a basic jazz blues progression. In these three choruses, I employed the diminished scale as much as I could in a short period of time, using a variety of different techniques.
PAGE 27 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Exploring the Diminished Scale Each hi-lighted phrase from the two solos should be taken through all 12 keys. Students would be wise to come up with their own variations on these ideas. Changing a note or direction of interval here and there can reveal a massive amount of new ideas.
PAGE 28 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Answer Keys
PAGE 29 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in Eb, Gb, A and C - C
PAGE 30 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in E, G, Bb, Db - C
PAGE 31 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and Db - C
PAGE 32 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb
PAGE 33 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb
PAGE 34 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb
PAGE 35 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in C, Eb, Gb and A - Eb
PAGE 36 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in Db, E, G and Bb - Eb
PAGE 37 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in D, F, Ab and B - Eb
PAGE 38 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in Eb, Gb, A and C - C
PAGE 39 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in E, G, Bb and Db - C
PAGE 40 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - C
PAGE 41 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb
PAGE 42 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb
PAGE 43 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb
PAGE 44 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in C, Eb, Gb and A - Eb
PAGE 45 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in Db, E, G and Bb - Eb
PAGE 46 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in D, F, Ab and B - Eb
PAGE 47 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 1 in C
PAGE 48 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 2 in C
PAGE 49 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 3 in C
PAGE 50 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 1 in Eb
PAGE 51 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 2 in Eb
PAGE 52 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 3 in Eb
PAGE 53 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 1 in C
PAGE 54 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 2 in C
PAGE 55 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 3 in C
PAGE 56 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 1 solo in Eb
PAGE 57 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 2 solo in Eb
PAGE 58 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 3 solo in Eb
PAGE 59 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Study Jazz Improv Online with Eric Online Lessons Available at EricAlexanderJazz.com If you would like to explore the material in this book or any aspect of jazz improvisation with me personally, I offer one-on-one lessons online via Skype at my website: EricAlexanderJazz.com. I am happy to work with beginners through advanced professional players. Here are some common areas that I work on with my students: technique (fingering, embrochure, sound production, altissimo, vibrato, intonation, mouthpiece & reed choice), all aspects of improvisation, chordscale theory, composition, repertoire development, rhythmic concepts. Please email with any questions you may have. I’d love to hear from you. Eric [email protected]
PAGE 60 OF 60
ERICALEXANDERJAZZ.COM ©2012
Improvising with the Diminished Scale PAGE 1 OF 60
DURATION: TWO CLASSROOM PERIODS
EricAlexanderJazz.com
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
The author represents and warrants that he both owns and has the legal right to publish all material in this book. Improvising with the Diminished Scale All Rights Reserved. Copyright ©2012 Eric Alexander Produced by Bill Rinehart and Jazz Web Development, http://www.jazzwebdev.com 1.2 121812 This book may not be reproduced, transmitted, or stored in whole or in part by any means, including graphic, electronic, or mechanical without the express written consent of the publisher except in the case of brief quotations embodied in critical articles and reviews. http://www.ericalexanderjazz.com
PAGE 2 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Preface I’ve often said that if I could have only one harmonic concept to work with for the next ten years I would have to pick the diminished scale. Both for it’s built-in harmonic precision and for the multitude of sounds that one can generate with it if one understands how to use it properly. In this ebook, I will show players how I like to think about the scale in terms of resolutions in ii-V settings and also how, by it’s construction, the diminished scale is easily transposed and applied to all twelve keys. As you will see in this book, the diminished scale perfectly outlines the tritone relationship between two sets of chord progressions, which is one of the most important, if not THE most important, concept in modern jazz harmony. If you’d like to explore this material further with me, I'm available for one-on-one online lessons via Skype and can be contacted directly for live performances, clinics and workshops. Eric [email protected]
PAGE 3 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Table of Contents Spelling Diminished Scales
6
Use Tritone Relationships
6
Diminished Scales Are Symmetric
8
Exercise 1 Build the diminished scale in all 12 keys
9
Exercise 2 Play the diminished scale in all 12 keys
16
Improvising with the Diminished Scale
17
Applying the Diminished Scale to ii-V Progressions
17
Diminished Scales for Sequential ii-Vs
19
Exercise 3 Play the diminished scale over “Tune Up”
22
Diminished Scales in the Blues Progression
23
Exercise 4 Play the diminished scale over the Blues
27
Exploring the Diminished Scale
28
Answer Keys
Blues solo chorus 1 in C
PAGE 4 OF 60
29 48
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 2 in C
49
Blues solo chorus 3 in C
50
Blues solo chorus 1 in Eb
51
Blues solo chorus 2 in Eb
52
Blues solo chorus 3 in Eb
53
Tune Up chorus 1 in C
54
Tune Up chorus 2 in C
55
Tune Up chorus 3 in C
56
Tune Up chorus 1 solo in Eb
57
Tune Up chorus 2 solo in Eb
58
Tune Up chorus 3 solo in Eb
59
Study Jazz Improv Online with Eric
Online Lessons Available at EricAlexanderJazz.com
PAGE 5 OF 60
60 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Spelling Diminished Scales Use Tritone Relationships It is best to think of tritone relationships to identify diminished scales. To find the C7 diminished scale, for example, think of the first four notes of the C7 mixolydian scale, descending, then the first four notes of the mixolydian scale a tritone away from C7, F#7, descending, as in figure 1.
Figure 1
We can find the same scale in ascending form if we start on the root of the related ii minor chord and play the first four notes of it’s dorian scale followed by the first four notes of the dorian scale a tritone away as in figure 2.
Figure 2
PAGE 6 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
We could actually give the chord progression | G-7 C7 C#-7 F#7 | to both the ascending and descending versions of the scale as in figure 3.
Figure 3
It is important, when descending, to think of the two dominant 7th chords, and when ascending, the two minor 7th chords. Also notice that by just playing the scale for one octave up or down, you’ll get a great resolution to F (major or minor).
PAGE 7 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Diminished Scales Are Symmetric Because of the repeating series of intervals in the diminished scale (whole and half steps), this scale is referred to as symmetric. See figure 4.
Figure 4
The consistent series of intervals limits the number of times the scale can be transposed into different keys. Because of this, symmetric scales are often called scales of limited transposition. The benefit is that there are only three different diminished scales and each scale works over four keys. So to use the scale for all twelve keys you only have to learn three different scales. In figure 5, each succeeding scale starts on the minor third above the root (the second to the last note of the previous scale) and uses the same notes. Effectively, the notes of the C7 diminished scale will work over Eb7, Gb7 and A7.
Figure 5
PAGE 8 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Exercise 1 Build the diminished scale in all 12 keys 1.
The ascending diminished scale for the major ii-7 V7 Imaj7 progression in F is written out for you in the first measure on the staves on page 10.
2.
On measure 5, write the diminished scale, ascending in eighth notes, for the major ii-7 V7 progression a minor third above the first. Write this out again in measure 7. In measure 9 do the same for the progression a minor third above that and then again a minor third above that in measure 13. Chord symbols are provided for you.
3.
Compare your answers to the answer key at the back of the ebook.
4.
After comparing your answers with the answer key, write out the remaining scales starting on Gb and ascending in minor 3rds on pages 11 and starting on G and ascending in minor 3rds on page 12.
5.
Write out the descending diminished scales in the same way starting on page 13. The first scale has been done for you.
PAGE 9 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb
PAGE 10 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb
PAGE 11 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb
PAGE 12 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb
PAGE 13 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb
PAGE 14 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb
PAGE 15 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Exercise 2 Play the diminished scale in all 12 keys 1.
While reading the scales that you wrote out in exercise 1, play the scales with the companion playalong file. NOTE: The scales you wrote out are in Bb concert. If your instrument is in Bb you can read the scales that you wrote out. If your instrument is in C or Eb, you can either sight transpose the scales for your instrument as you play them, read the transposed scales in the answer key or print out additional copies of the writing exercise (pages 10-15) and write the scales for your instrument.
2.
Choose a set of scales to work on and open the corresponding playalong file in Band-in-a-Box, or a music player of your choice (Playalongs are provided in Band-in-a-Box and M4a formats).
3.
For example, to work on the F/Ab/B/D diminished scales in Bb on page 10, open the Eb/Gb/A/C diminished scale playalong file found in the playalongs folder in your Improvising with Diminished Scales download folder.
4.
The playalong will play four choruses of each exercise.
5.
As you play the scales, memorize the notes and the sound of each scale. Try to wean yourself off of reading the scales as soon as possible. As you memorize the scales, start to improvise with them by just playing fragments of the scale, by extending/shortening the rhythm of each note; inverting the octave of the notes, etc. and generally messing with them to create interesting lines.
PAGE 16 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Improvising with the Diminished Scale Applying the Diminished Scale to ii-V Progressions Over a ii-V in F major, you might play something like figure 7. Note: this could also cadence to a minor I chord.
Figure 7
You can use this way of thinking coming from the ii-7 chord as well. In figure 8, C#-7 scale is played over the C7 chord.
Figure 8
This is the best way to think of diminished because you always teach yourself to feel | G-7 C7 | C#- F#7 |.
PAGE 17 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Once you have the tritone relationship in your mind, you can leave the diminished scale and just play tritone transpositions for resolutions, like in figure 9. I’m just taking simple melodies and playing their exact transpositions for the tritone changes!
Figure 9
If you have that tritone progression in mind you can begin to play any type of idea over each change. It’s not essential to play exact transpositions. In fact, one might completely ignore the original chord progression and only solo over the tritone ii-V7 to get to the 1 chord. It’s really about as far “out” as you can get- you just need to make sure that you resolve in a meaningful way.
PAGE 18 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Diminished Scales for Sequential ii-Vs Diminished scales can generate interesting sounds when used in any progression. In figure 8, I used the diminished scale to improvise over the changes to “Tune Up.” This is a perfect tune for trying out two bar resolutions because of the repetitive nature of the progression. Then again, there are so many tunes that we play that give us opportunities like this it’s pointless to even begin mentioning them!
Figure 10 - Transcription of chorus 1 of “Tune Up” using the diminished scale
Phrase #1 is the diminished scale descending from the root of the V7 chord to resolution. Phrase #2 is a sequence of the first four notes of the phrase moved in minor 3rds through the scale until resolution. Phrase #3 is a sequence of the first two notes moved up in minor 3rds until resolution.
PAGE 19 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Figure 11 - Transcription of chorus 2 of “Tune Up” using the diminished scale
Phrase #4 is the diminished scale ascending from the root of the ii-7 chord until resolution. Phrase #5 is a sequence of a simple idea (first four eighth notes) to the tritone ii-7 V7 to get to resolution of Dmaj7. Phrase #6 is a sequence of the initial three note pattern moved down in minor 3rds until resolution. Note the syncopation of this line.
PAGE 20 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Figure 12 - Transcription of chorus 3 of “Tune Up” using the diminished scale
Phrase #7 is a sequence of the initial four note pattern starting on the root of the V7 chord moved in minor 3rds until resolution. Phrase #8 is the same as #7 but ascending and starting on the 9th of the ii-7 chord. Phrase #9 is a sequence of the initial four note pattern moved in minor 3rds. Phrase #10 is a pattern based on the ascending diminished scale with a lower neighbor tone. This solo was recorded at a sound check in Nagoya, Japan in April of 2012. http://youtu.be/urpW5Xpubdk
PAGE 21 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Exercise 3 Play the diminished scale over “Tune Up” 1.
Play the transcription of my solo with the playalong. Either sight transpose the Bb solo from figures 10-12 or read the transposed solo for your instrument in the answer key section of the book below. Memorize the solo to assimilate the vocabulary into your head and hands.
2.
Practice all the hi-lighted phrases for each resolution in all 12 keys!
PAGE 22 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Diminished Scales in the Blues Progression Diminished scales can generate interesting sounds when used in the blues progression.
Figure 5 - Transcription of Chorus 1 of a blues chorus using the diminished scale
Phrase #1 is a four note sequence using the upper neighbor then descending. Phrase #2 is F#º going to C and can also become a longer phrase by adding the first four notes of the descending diminished scale as in figure 5a and move up in minor thirds in each measure.
Figure 5a
Phrase #3 uses the lower neighbor tone then ascends. Phrase #4 is a sequence of the initial four note pattern down a minor 3rd with the last note serving as a chromatic approach to the succeeding four note group. Phrase #5 is a four note phrase composed of descending perfect 4ths sequenced in minor 3rds. Phrase #6 is a four note group sequenced in minor 3rds. Phrase #7 is a variation of figure 5b which can be sequenced in minor 3rds. PAGE 23 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Figure 5b
PAGE 24 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Figure 6 - Transcription of Chorus 2 of a blues using the diminished scale
Phrase #8 and 9 are also variations of figure 5b which too can be sequenced in minor 3rds. Phrase #10 is a variation of #5. I changed the direction of some of the intervals. See figure 6a.
Figure 6a
Phrase#11 and 12 are made up of the initial four note pattern sequenced in minor 3rds.
PAGE 25 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Figure 7 - Transcription of Chorus 3 of a blues chorus using the diminished scale
The first four notes of phrase #13 are an inverted triad of the chord of the moment followed by four notes of the inverted triad a tritone away and then the idea is moved down in minor thirds. Phrase #14 is the same as phrase #3. Phrase #15 is a pattern of pairs of ascending major 3rds sequenced in ascending minor 3rds. Phrase #16 is a one octave run of diminished scale ascending starting on the root of the ii-7 chord. This solo was recorded with Mike LeDonne and Joe Farnsworth at Smoke in NYC on September 12, 2012. http://youtu.be/9bLzX9AaDng
PAGE 26 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Exercise 4 Play the diminished scale over the Blues 1.
Play the transcription of my solo with the playalong. Either sight transpose the Bb solo from figures 5-7 or read the transposed solo for your instrument in the answer key section of the book below. Memorize the solo to assimilate the vocabulary into your head and hands. Of course, the blues is loaded with spots to employ the diminished scale. The first and most obvious is over the movement from the IV7 chord back to the I7 chord, where very often we use the #IV dimished chord to bring us back home. This is really a form of what classical players refer to as the “embellishing” diminished sound. It is not a v7-1 movement and it is actually a topic for another day. Suffice it to say (for now) that in these spots one should use the scale appropriate for C dim7, Eb dim7, F#dim7, and A dim7 chords- that is, the diminished scale that starts with a whole step and begins on any of those notes. Of greater importance, with regard to what we have been working on in this book, is the idea that we can employ the diminished scale any time we have a V7 to I (or i) movement. This happens in at least three spots (not including the turnaround) in a basic jazz blues progression. In these three choruses, I employed the diminished scale as much as I could in a short period of time, using a variety of different techniques.
PAGE 27 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Exploring the Diminished Scale Each hi-lighted phrase from the two solos should be taken through all 12 keys. Students would be wise to come up with their own variations on these ideas. Changing a note or direction of interval here and there can reveal a massive amount of new ideas.
PAGE 28 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Answer Keys
PAGE 29 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in Eb, Gb, A and C - C
PAGE 30 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in E, G, Bb, Db - C
PAGE 31 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and Db - C
PAGE 32 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb
PAGE 33 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb
PAGE 34 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb
PAGE 35 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in C, Eb, Gb and A - Eb
PAGE 36 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in Db, E, G and Bb - Eb
PAGE 37 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Ascending Diminished Scales for Major II-7 V7 Progressions in D, F, Ab and B - Eb
PAGE 38 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in Eb, Gb, A and C - C
PAGE 39 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in E, G, Bb and Db - C
PAGE 40 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - C
PAGE 41 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in F, Ab, B and D - Bb
PAGE 42 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in Gb, A, C and Eb - Bb
PAGE 43 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in G, Bb, Db and E - Bb
PAGE 44 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in C, Eb, Gb and A - Eb
PAGE 45 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in Db, E, G and Bb - Eb
PAGE 46 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Descending Diminished Scales for Major II-7 V7 Progressions in D, F, Ab and B - Eb
PAGE 47 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 1 in C
PAGE 48 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 2 in C
PAGE 49 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 3 in C
PAGE 50 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 1 in Eb
PAGE 51 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 2 in Eb
PAGE 52 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Blues solo chorus 3 in Eb
PAGE 53 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 1 in C
PAGE 54 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 2 in C
PAGE 55 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 3 in C
PAGE 56 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 1 solo in Eb
PAGE 57 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 2 solo in Eb
PAGE 58 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Tune Up chorus 3 solo in Eb
PAGE 59 OF 60
ERICALEXANDERJAZZ.COM ©2012
ERIC ALEXANDER
IMPROVISING WITH THE DIMINISHED SCALE
Study Jazz Improv Online with Eric Online Lessons Available at EricAlexanderJazz.com If you would like to explore the material in this book or any aspect of jazz improvisation with me personally, I offer one-on-one lessons online via Skype at my website: EricAlexanderJazz.com. I am happy to work with beginners through advanced professional players. Here are some common areas that I work on with my students: technique (fingering, embrochure, sound production, altissimo, vibrato, intonation, mouthpiece & reed choice), all aspects of improvisation, chordscale theory, composition, repertoire development, rhythmic concepts. Please email with any questions you may have. I’d love to hear from you. Eric [email protected]
PAGE 60 OF 60
ERICALEXANDERJAZZ.COM ©2012
Related Documents
Improvising With The Diminished Scale: Eric Alexander
January 2021 1
Scale Skills Diminished Capacity
January 2021 0
C Diminished Scale Interval Studies
January 2021 1
Diatonic Triad Pairs: Diminished Scale
February 2021 1
Jam With Eric Clapton.pdf
January 2021 1
Improve Your Breathing With The Alexander Technique
January 2021 1More Documents from "Leland Vall"