Harmony and improvisationalconcepts for pianists
Content Harmony..................................................................................................................... 5 Chord groups and chord quality................................................................................. 5 Intervals and numbers................................................................................................ 6 MODALITY: Modes from the major and melodic minor scale.......................................7 From the major scale............................................................................................... 7 From the melodic minor scale.................................................................................8 Summary............................................................................................................ 10 Practice tips!...................................................................................................... 12 Practical use of scales.............................................................................................. 15 Dark and bright sounds......................................................................................... 17 Alternate modes from the harmonic minor scale......................................................18 SYMMETRY: Symmetric scales...................................................................................20 Some voicing tips when using the half-whole scale...........................................21 BLUES: Blues scales.................................................................................................. 24 PENTATONICS: Pentatonic scales.............................................................................. 25 Practical use of scales.............................................................................................. 30 Tips on how to practice scales and sounds...............................................................33 Basic ”shell” voicings............................................................................................... 34 Adapting left-hand voicings to scales.................................................................35 Functional arpeggios................................................................................................ 37 Upper structures based on triads.............................................................................44 Usable major- and minor triads over C maj7.........................................................45 Usable major- and minor triads over C7, C7alt and Csus7....................................47 Usable major- and minor triads over C-minor7, C-minor/maj7 and C-minor7b5....51 Upper structures based on fourths...........................................................................54 Upper structures in practical use.............................................................................. 59 Implied 2-5-1 progressions....................................................................................... 61 Other implied progressions....................................................................................... 64 Reharmonization techniques.................................................................................... 65
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1. Modal reharmonization................................................................................... 65 2. Relative key reharmonization.........................................................................66 3. Reharmonization based on thirds...................................................................66 4. Reharmonization by using other scale-tones in the bass...............................69 5. Reharmonization by using approach chords...................................................72 6. Reharmonizing each melody tone..................................................................74 Polytonality and composite scales............................................................................75 Use of scales to play polytonal................................................................................. 78 Last thoughts............................................................................................................ 82
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Harmony Here is an introduction to my way of categorizing Western harmony. I divide harmony into four groups: modality, symmetry (including the chromatic scale), blues and pentatonic. We will go through all these groups and take a close look on their application and how they actually sound in a musical context.
Some words on how to think about modes. Whether you think about a dorian scale as the second step from a major scale or as a minor scale with a raised 6th step, is entirely up to you. As you start working with the modes from the major and melodic scale, it might be easier to base everything on “regular” major and minor scales and see the new tones introduced by modes as alternations. For example: a C mixolydian b13 scale is just a C major scale with a lowered 7th and a lowered 6th step. As you progress further, you can think of alterations as deviations from the “bread and butter” modes ionian, mixolydian and dorian. More examples: A scale based on the 4th step of a melodic minor scale is the same as a lydian b7 and the same as a major scale with a lowered 7th step and a raised 4th step or written as a major b7 #11 scale. The method that makes you think fastest is the right one for you. It’s all about using these scales to express yourself musically. I like to think of the different scales in terms of the basic quality (major or minor) and numbers for the alterations. All chord charts have numbers, so that way everything is more connected in terms of the sounds and the written chords.
Chord groups and chord quality I also divide harmony into four chord groups: major 7th chords, dominant 7th chords, minor chords and minor b5 chords. This is a very simplified way of categorizing harmony, but everything will become clear as you work your way through the chapters of the book. 4
The purpose of modality is to get different shades/colors over chords. By doing that we reharmonize or “stretch” the original harmony without destroying the original harmonic function of the chord. I am not thinking of basic dominant – tonic type relationship, but instead the chord`s quality (major 7th, dominant 7th, minor or minor b5). The tones needed to define a chord are the root, the 3rd and the 7th (and of course the b5 on a minor b5 chord). Everything else is fair game! It’s usually the primary modes ionian, dorian and mixolydian that gets exchanged with other alternatives.
Intervals and numbers I use numbers when describing tones and intervals. I look at a basic major scale as: 1-9-3-11-513 and 7. The reason for this is that all chord charts use numbers to describe higher tension tones. I use this system for minor scales: 1-9-3-11-5-6-7. Any deviations from the current scale are marked with b (for lowered or flat) and # (for raised or sharp). Notice that it’s quite common to use 5 and 6 when working with minor chords and scales. You often see a b5 or a b6 when playing minor chords, but you rarely see a Cm7 b13 chord. But you will see a C7 b13. This will become clear when we work our way through the different scales and sounds in this book. I think this system is the easiest to relate to in terms of getting the chord and scale right. The reference is: 1 = root 9 = 2nd or 9th. Here I`ll use b9 and #9 to indicate alterations. 3 = 3rd (minor 3rd on minor chords and major 3rd on major chords is a given). 11 = fourth. Here I use #11 to indicate an alteration. 5 = fifth. Here I use b5 and #5 to indicate alterations. 6 = sixth. There are different ways of defining this interval. In minor this is always a b6 interval, but in scales with a raised 6th (like dorian), this is indicated by the number 6 (Cm6/9). The number 6 is always used in conjunction with minor scales. 13 = sixth. I always use the number 13 in conjunction with major scales. I use b13 to indicate an alteration. 7 = seventh. (Always lowered 7th on minor and dominant chords and major 7th on major 7th chords unless otherwise notated). 5
Ok, let’s get started and take a look at modes from the major and melodic minor scale. We will split these into groups that work over the four different chord groups. Spend a good amount of time with each mode and listen to the mood/color of the scale.
MODALITY: Modes from the major and melodic minor scale.
From the major scale (Your basic scales. Don’t be discouraged by the “dry” term, modes. When used right, they sound great. Contrast between “hip” sounds and basic scales is vital as we`ll get into later).
Major based: (scales with a major 3rd): 1. ionian, regular major. Audio example: M1, S1, E1
2. lydian, major with a #11 (originally from G-major). Audio example: M1, S1, E2
3. mixolydian, major with a b7 (originally from F-major). Audio example: M1, S1, E3
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Minor based (scales with a minor 3rd): 1. aeolian, regular minor. Audio example: Audio example: M1, S1, E4
2. dorian, minor with a raised 6th step (originally from Bb-major). M1, S1, E5
3. phrygian, minor with a b9 (originally from Ab-major). M1, S1, E6
4. locrian, minor with a b9 and a b5 (originally from Db-major). M1, S1, E7
From the melodic minor scale (Now this is where it starts getting interesting)! Major based: (scales with a major 3rd): 1. lydian #5, 3rd step, major with a #11 and a #5, (originally from A melodic minor). Audio example: M1, S2, E1
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2. mixolydian #11, 4th step, major with a #11 and a b7, (originally from G melodic minor). Audio example: M1, S2, E2
3. mixolydian b13, 5th step, major with a b13 and a b7, (originally from F melodic minor). Audio example: M1, S2, E3
4. altered scale, 7th step, major with a b9, #9, #11, b13 and a b7, (originally from Db melodic minor). Audio example: M1, S2, E4
Minor based (scales with a minor 3rd): 1. melodic minor, 1st step, minor with a raised 6th and 7th step. Audio example: M1, S2, E5
2. dorian b9, 2nd step, minor with a b9 and a raised 6th step, (originally from Bb melodic minor). Audio example: M1, S2, E6
3. minor b5, 6th step, minor with a b5, (originally from Eb melodic minor). Audio example: M1, S2, E7
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Summary Major based modes that work over major 7th chords (I use a Cmaj7 in this example): 1. ionian, regular major.
2. lydian, major with a #11 (often used on major 7th chords that are not the tonic. Also a good reharmonization alternative to a regular major scale. Sounds brighter than major)
3. lydian #5, major with a #11 og #5 (a brighter version of lydian)
Major based modes in C that work over dominant 7th chords, major chords with a b7: 1. mixolydian, major with a b7
2. mixolydian #11, major with a #11 and a b7 (often used on dominants that does not resolve to its respective tonic. Sounds brighter than a regular mixolydian)
3. mixolydian b13, major with a b13 and a b7 (a darker version of mixolydian)
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4. altered scale, major with a b9, #9, #11, b13 and a b7 (very dark and used on all chords that have alt. or altered behind them and contain a b13. More on altered chords with natural 13th later)
Minor based modes in C that work on minor 7th chords that have a natural 5th in them: 1. aeolian, regular minor
2. dorian, minor with a raised 6th step (a more modern and brighter alternative to regular minor. Think about the sound of “So What” by Miles Davies)
3. melodic minor, minor with a raised 6th and 7th step (used on minor-major 7th chords. A nice and bright alternative to regular minor)
4. phrygian, minor with a b9 (a darker alternative to regular minor)
5. dorian b9, minor with a b9 and a raised 6th step (a somewhat mixed scale in terms of color, but it sounds great)
Minor based modes that work over minor b5 and diminished chords in C. (Does not include diminished 7th chords, more on that later).
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1. locrian, minor with a b5 and a b9 (a dark sound on a minor 7th b5 chord)
2. minor b5, minor with a b5 (a brighter and more “modern” sound that locrian)
A little bit more about the altered scale. You often come across chord symbols such as this: C7 alt. There are only four possible alterations over a dominant 7th chord and they are b9, #9, #11 and b13. An altered scale consists of the root, b9, #9, major 3rd, #11, b13 and a lowered 7th. So when you see one of these chords, you are free to play any note of the scale in addition to the (root) 3rd and 7th! This also applies to any chord symbol that has an alteration. For example: C7 b13, C7 b9 #9 and so on. It’s all the same scale. The only exception is if a chord has an alteration and a NATURAL 13th. Then you have to use a half-whole symmetric scale. We will come back to that later.
Practice tips! You can practice the scales in the following manner: Example: In 4ths, 8ths, 8th note triplets and 16ths. Do them in the same tempo: 4ths in one octave:
8ths in two octaves:
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8th note triplets in three octaves:
16ths in four octaves:
Here are other ways to practice them:
8th note triplets in broken triads:
8ths in broken thirds:
8th note triplets in broken fourths:
Triads: 12
Fourths:
7th chords:
A bonus when practicing scales like this is that you also practice voicing at the same time! All the triads, fourths and 7th chords work as voicings. All of them will not sound equally good, but most of them work great. Try combining two fourths and maybe a fourth in the left hand and a triad in the right hand. As long as you stay within the scale, nothing is “wrong” You can also make your own! What about playing four notes from one scale, then four notes from another scale? You can do this up and down on the keyboard, start from different scale steps and do arpeggios in 3rds or 4ths. I have included some basic examples. Example: Scale steps from different scales up and down.
Arpeggios on consecutive scale steps up and down.
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REMEMBER! Always practice with a metronome. Do everything (where applicable) in both hands and do it slowly until you master it.
Practical use of scales Here is an example of how to use these scales over a standard tune. I’ll use the first 8 bars of “Autumn Leaves” by Joseph Kosma. This is only the harmonic “frame” of the tune with no melody, no alterations and basic voicings. Audio example: M1, S3, E1
Here is the same harmonic chart, but with different modal scales. Notice that the voicings have been “modified” to fit the new scales. Modifying the voicings means that you include notes that define the new scale, like including a b9 in a minor 7th chord to define a locrian scale. Version 1: Audio example: M1, S3, E2
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Version 2: Audio example: M1, S3, E3
You can also use these scales to make static stretches of harmony more interesting. There are certain tones that are common between all scales within a chord group. The root, 9th, 3rd, 6th and the 7th are always the same within any major 7th scale. If you changes scales over the same chord, these common tones can help to bind the harmony together while giving it movement. Here is an example over a Cmaj7 chord: Audio example: M1, S3, E4
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This also works over minor 7th chords and the common tones are the root, minor 3rd, 11 and the b7th. The same goes for minormajor 7th chords, but then the 7th is raised. The root, b3 and b5 is always the same on minor b5 chords. I am omitting the 7th on purpose her, because we are going to talk more about that when we get to symmetric scales. The root, 3rd and b7th are always the same on all dominant 7th chords.
Dark and bright sounds I think of the new scales as darker and brighter versions of the basic scale/sound. Ionian is for me the basic scale/sound on a major7. It’s a neutral sound with no alterations. On a dominant 7th chord, mixolydian is the standard scale/sound (major b7). The basic scale/sound for minor chords is regular minor and locrian for minor b5 chords. We can now make a diagram of the different colors of the scales/sounds. Here are the ones from the major and melodic minor scales: Major7 chords:
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This is all very subjective, but I think it good to associate scales with sounds, emotions and different moods.
Alternate modes from the harmonic minor scale When you are comfortable with the scales from major and melodic minor, you can start to experiment with these. Harmonic minor has a different “feel” than the ones from major and melodic minor. This is very much due to the b3rd scale step between the b6th and the raised 7th tone. This also contributes to give the scale a very distinct sound. Something that is both good and bad. Good as in the distinct sound, bad as in sounding the same in almost all instances you use it. Use the same approach regarding voicings. Here are the modes from C harmonic minor. 1. 1st step, harmonic minor, minor with a raised 7th (originally from C harmonic minor). Audio example: M1, S4, E1 17
2. 2nd step, minor b9, b5 and a raised 6th (originally from Bb harmonic minor). Audio example: M1, S4, E2
3. 3rd step, major #5, regular major scale but with a #5. (originally from A harmonic minor). Audio example: M1, S4, E3
4. 4th step, minor b5 and regular 5 with a raised 6th, (originally from G harmonic minor). Audio example: M1, S4, E4
5. 5th step, major with b9, b13 and b7. (originally from F harmonic minor). Audio example: Audio example: M1, S4, E5
6. 6th step, major/minor. Contains the b3 and the major 3, #11 and major7. (originally from E harmonic minor). Audio
example: M1, S4, E6
7. 7th step, major/altered has a b9, #9, #11, b13 and the natural 13th. (originally from Db harmonic minor). Audio
example: M1, S4, E7
Experiment as much as you can with these scales. I often compose a little piece using one or several of the scales, that way I remember their individual character and sound better. 18
SYMMETRY: Symmetric scales
Half-whole scale in C (dominant diminished scale): This 8 note scales is used on altered dominants that has a NATURAL 13th. It’s an excellent alternative to “regular” altered and lends itself well to sequencing and motivic repetitions. It just sounds modern and cool! Audio example: M2, E1
Dominant scale that has a b9, #9, #11 and a b7. This half-whole scale contains the majortriads C, Eb, F# and A. The 4 note chords C7, Eb7, F#7 and A. The minortriads C-minor, Eb-minor, F#minor and A-minor. And finally the minor7 chords Cm7, Ebm7, F#m7 and Am7. You can use this scale over C7, Eb7, F#7 and A7. This scale is actually made up of a Cdim7 and a Dbdim7 chord. Remember that a C, Eb, F# and A half-whole scale are made up of the same notes. Since this scale is constructed from two diminished 7th chords, it repeats itself every third step. That means that there are only three half-whole scales. You have one from C, one from Db and one from D. When you get to Eb, then it’s the same scale as the one from C. Everything repeats itself every 3rd step. Some voicing tips when using the half-whole scale When you use the half-whole scale from C, you always have the major triads C, Eb, F#, A, and the minor triads C-minor, Eb-minor, F#-minor and A-minor as usable upper structures. You can cycle through these over a chord to get harmonic movement over a long stretch of static harmony. 19
Here are some examples. Notice the symmetry and how everything moves in minor 3rds. These triads can also be used in every inversion. All the examples underneath is over a C7 chord! Audio examples: M9, S9, E1 to E8 1. Simple bass note with a triad on top (C7).
2. Two major triads on top of each other. This can also be done with the minor triads and a mix between the two.
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3.
As said earlier, you can use any inversion of the triads. You can also use 7th chords. 1. Ex. Gb7 over C7:
2. Ex. Am7 over Ebm7 med C bass note:
HUSK: 1. You can combine triads and 7th chords in different inversions! 21
2. A C half-whole scale is identical to an Eb, F# and A half-whole scale. 3. You can do all this with a whole-half scale too!
Whole-half scale in C (minor b5, diminished scale): This 8 note scales is used on dim, dim 7th chords, minor b5 and minor/maj 7th b5 chords. Audio example: M2, E2
It is a minor scale with a b5, raised 6th and a raised 7th. It is a bright alternative to locrian and minor b5. It sounds “harder” and more modern then these scales. It contains the D, F, Ab and B, The 4 note chords D7, F7, Ab7 og B7 and the minor triads D-minor, F-minor, Ab-minor And Bminor. And the minor7 chords Dm7, Fm7, Ab-m7 and Bm7.
Wholetone scale in C: This 6 note scale can be used on dominant 7th chords (C7) and augmented dominant chords (C+7). Audio example: M2, E3
The scale contains 1, 9, 3, #11, b13 and the b7. It has a very distinct sound and it is a great alternative to mixolydian and the other dominant scales. You can also sneak it in over altered dominants, but watch the 9th! There are only two different wholetone scales. The ones built from C, D, E, F#, G# and A# are the same and the ones built from Db, Eb, F, G, A and B are also the same scale. 22
The chromatic scale: This scale contains all of the twelve tones. It’s often used to provide notes between the tones of the scale you are using. This is great for binding together lines and for transposing motifs around keycentres. A lot of the standard use of chromatics in improvisation comes from the sixties when Be-Bop emerged as a style of playing. There are several great books out there on how to play BeBop! M2, E4
BLUES: Blues scales
Minor blues scale in C: This six note scale can actually be used on any chord. It all depends on style and personal taste. Works over a C7 and a Cm7. Audio example: M3, E1
Extended blues scale in C: This eight note scale is mostly used on jazzblues tunes. It contains both a minor and a major 3rd. A good alternative when you want a “major/happy” blues sound. Audio example: M3, E2
You can also add the 9th as a primary tone and use Ab and B as passing tones. Both og these blues scales works excellent as alternatives to modal scales. 23
Since these scales have a really strong and independent sound, you can use them on almost every chord where you want that blues sound.
PENTATONICS: Pentatonic scales Pentatonic scale from C: This five note scale is a majorscale and is used on major and dominant chords. Audio example: M4, E1
There are also minor-pentatonic scales. But these are just inversions of major-pentatonic scales and will complicate the scale landscape. A C major-pentatonic is the same as an A minorpentatonic scale. But if you want to think pentatonic scales from a minor viewpoint, that’s also correct. Use the method that makes the most sense to you and lets you get the sound you want quickest! Usable pentatonic scales over Cmaj7: 1. C pentatonic.
2. G pentatonic.
3. F pentatonic. Implies a Sus4 or an 11 chord because of the tone F.
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4. D pentatonic. Implies a #11 sound because of the tone F#.
Usable pentatonic scales over C7, C7alt. and Csus7 chords: 1. C pentatonic.
2. F pentatonic. Implies a Sus4 or 11 chord because of the tone F
3. Bb pentatonic. Implies a Sus4 or 11 chord because of the tone F
4. Eb pentatonic. Implies a #9 (minor) and sus4, 11 chord because of the tone F
5. Ab pentatonic. Implies an altered chord. (More so than an 11 sus chord because of the two alterations Ab and Eb).
6. Db pentatonic. Implies an altered chord. (More so than an 11 sus chord because of the three alterations: Ab, Eb and Db).
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7. Gb, the coolest of the pentatonic scales to use over a dominant chord. It has the tones b9, #9, #11 and b13.
Usable pentatonic scales over C minor chords: 1. Eb pentatonic.
2. Bb pentatonic..
3. Ab pentatonic.
4. F pentatonic. Implies dorian mode because of the tone A.
5. Db pentatonic. Implies Phrygian mode because of the tone Db.
6. Gb pentatonic. Implies locrian mode because of the tones Db and Gb. This scale can also be used on minor 7th b5 chords.
You can approach all of these pentatonic scales chromatically from underneath and above. For example, if you want to play an F pentatonic scale over Cm7, you can “sidestep” into E and Gb pentatonic. This opens up a lot of options for using chromatic approached pentatonic scales! 26
Example: We are in C minor and using an Eb pentatonic scale. Then we “sidestep” into a D pentatonic, then back to Eb pentatonic and finally into E pentatonic befor resolving back to Eb. All of this is done over a five bars of Cm7: Audio example: M4, E2
Here is an example of tonal/chromatic support in the left hand. The underlying chord chart is a Cm7 and we are sidestepping into B and C# minor: Audio example: M4, E4
Remember: we are in C minor the whole time. We`re just sidestepping into scales a half note below and above! You can expand this voicing concept with different fourths in both hands, or triads in the right hand over fourths in the left hand and so on. There`s a huge amount of possibilities. Here is an example of using pentatonic scales over a short version of ”Stella by starlight”: Audio example: M4, E3
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Å good way to establish the pentatonic sound is to `comp yourself with fourth voicings in the left hand. You build fourths within the scale you use. Here is an example in C dorian:
Example:”So What” voicing in C dorian using a fourth in the bottom of the voicing, and a triad in the top:
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Practical use of scales The most obvious use of the scales is to use them over related chord. For example, use a mixolydian #11 over a C7#11| chord. But you can also use them to achieve a larger harmonic landscape and this is what I call modal reharmonization. By that, I mean that you replace the original scale with a new from the same chord group to get another “sound”. You can always reharmonize when you are `comping someone, as long as the melody allows it! You don’t have to worry about any harmonic conflicts when you are soloing. But it’s always a good thing to back yourself up in the left hand with voicings in the scale you use! Here’s an example of the available scales when you use modes, symmetry, blues and pentatonic. This example is over the harmonic frame of ”Stella by Starlight” and I have not included the scales derived from harmonic minor. Enjoy exploring them on your own!
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Now you begin to grasp the enormous harmonic possibilities you have when playing over standard chord charts as a soloist or as an accompanist. Not everything will sound good when you start to use these scales, so pick a few that you really like and start to apply them in a musical setting. Use them over familiar tunes and pay close attention to how they sound and how they feel in regards to mood and color. There are a lot of old-school rules about which scale can and cannot be used in certain harmonic progressions, but as long as it sounds good, then it is good! These harmonic principles are not limited to jazz. They are usable in all sorts of rhythmic music as blues, fusion, latin, funk, soul and so on. We are trying to achieve harmonic freedom. Here is an example of how we can stretch they harmony over a simple blues progression. A standard blues-form consists of three dominant 7th chords and we now know that we have fifteen suitable scales per chord. The possibilities are many and we can give the blues form a lot of different characters and expressions other than just playing a standard blues scale: Audio example: M5, E1 30
Special scale to use over major 7th chords. I like this one, so here you go: Major b13 (b6): Audio example: M5, E2
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Voicingtips: Audio example: M5, E3
Tips on how to practice scales and sounds
OK, we have now been through a lot of new sounds and everything can be a bit overwhelming and complex. I usually approach new sound by recording baseline and drums into a sequencer and use it as a playalong. This way I always have a metronome and the bass playing the root so that it’s easier for me to experiment with voicing and still hear everything with the root. It’s also easy to transpose everything to all the keys. You could for example spend thirty minutes playing in C maj7 and improvise using Ionian, Lydian and Lydian #5. The next day you can do it in C# and so on. Focus on the sound and quality of each scale and how they interact with each other. You can of course spend more than thirty minutes practicing scales as long as you are concentrated. Do this with all the scales every day for a month. It might be a good idea to make a practice plan which you stick to rigidly. Then take a week off and let the information sink in, some time off does wonders for the sub consciousness! Start using the sounds over familiar chord charts. For example, use mixolydian #11 on every dominant 7th chord you come across. Take your time with each individual sound until you hear it in your “inner ear”. As you do this, all the new sounds will be as natural as regular major and minor. It takes time and effort, but it is definitely worth it!
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Basic “shell” voicings These are basic four-note rootless voicings. They are used a lot in blues, funk, jazz, fusion and other related musical styles. Here they are in a 2-5-1 progression and I`ve written them in the two most used inversion (the remaining two inversions also sound great): Audio example: M6, E1
You should master these voicings in both hands in all keys. You avoid a lot of large skips on the keyboard by using these voicings since all chords are easy to reach. Another good thing about these voicings is that they are easy to alter to fit the scale you want to use. You actually modify the voicing to work with the scale. Audio examples: M6, E2 and E3 Ex. a Cm9:
and a ”modified” Cm9b5:
M6, E4 andE5
Ex. a G13:
and a ”modified” G7#9b13:
VOICINGTIP: The G13 voicing also works great with other bass tones. I use diatonic tones from a G mixolydian in this example: Audio example: M6, E6
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Experiment with other bass notes, other voicings and different inversions. REMEMBER: The most important tones in a chord are the root, third and the seventh. When using a minor b5 chord, the fifth is also very important! The rest of the tones you want to add can be any of the remaining tones of the scale you want to use. A G13 can then be comprised of the tones G, B, F and still be called a G13. You can also add a b9 of an 11th or whatever.
Adapting left-hand voicings to scales Here are some examples on how to modify left-hand voicings to work with and emphasize the scale you want to use. These voicings use the root and are great for solo piano playing. Here are some vocings in major with the root at the bottom of the voicing. Audio examples: M7, S1, E1 to E8
Heres some in minor. Audio examples: M7, S2, E1 to E7 34
Heres some symmetric ones. Audio examples: M7, S3, E1 to E3
Using other scale notes in the bottom of the voicing also sound great.Here are some examples in C minor. Audio examples: M7, S4, E1 to E5
These are just some of the voicings that I like. Experiment!
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Functional arpeggios Using arpeggios within the scale is a good way to open up the intervals when improvising. We pianists have a tendency to play a lot of stepwise lines when improvising. Not all diatonic arpeggios sound equally good and I`ll write some of my favorites below. These can be uses as chords in the right hand and as arpeggios when soloing. I`ll do three for each chord type, but there are lots more to choose from. Experiment and find you own favorites! Functional arpeggios over maj7 #11 chords: Audio examples: M8, S1, E1 to E9 1. from the 3rd:
2. from the 5th:
3. from the 7th:
Functional arpeggios over b7 #11 chords: 1. from the 3rd: 36
2. from the 5th:
3 from the 7th:
Functional arpeggios over b7 altered chords: 1. from the 7th:
2. from b9:
3. from the 3rd:
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Functional arpeggios over minor 7th dorian chords: 1. from the 5th:
2. from the 7th:
3. from the 9th:
Functional arpeggios over minor 7th b5 chords (with a natural 9th): 1: from the root:
2. from the 3rd: 38
3. from the 5th (b5):
Functional arpeggios over minor/major 7th (melodic minor) chords: 1. from the 6th:
2. from the root:
3. from the 3rd:
Functional arpeggios over minor 7th b5 chords (with a b9): 39
1. from the 3rd:
2. from the 5th (b5):
3. Fra septim:
Functional arpeggios over b7 sus4 (11) chords: 1. from the 5th:
2. from th 7th: 40
3. from the 9th:
These 7th chords are excellent for creating movement within a chord without reharmonizing it. Here are some examples: Audio examples: M8, S2, E1 to E5
Or used as arpeggios over chords:
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You can also use triads and get some cool rhythmic displacements:
You can also add an approach note before the triad and get a “new” four-note arpeggio. Example:
Here are some triads in a downward movement with an approach note a half step under the triad. Example:
If you add approach notes to four-note yopu will get some cool rhythmic displacements since you play a five-note figure: 42
Upper structures based on triads
We can use simple major and minor triads to create exciting and cool voicings over regular 7th chords. The term “upper structure” means that we use (in this case) triads that consist of scale tones above the 7th . Like the 9th, 11th and 13th, both unaltered and altered. The reason for this is that triads have a distinct and “independent” sound. Upper structures can also be used for lines when soloing, arranging, composing and so on. The voicing theory is simple: you use the 3rd and th 7th in the left hand to define the chord type and a triad in the right hand. For example, a Gb triad over a C7 base (C-E-Bb) would give us an altered C7 chord since the Gb triad contains the #11, the b7 and the b9 in C. Upper structures can be used in all inversions. Here is a Gb triad in different inversions over a C7 base: Audio example: M9, S1, E1
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You can also use triads in the left hand and this will sometimes result in polytonality and sounds modern and cool. Be aware that polytonality has an influence on the scale that we use and we might have to add or adjust some of the notes. This gives us a wider selection of tones and this expanded scale is called a composite scale. We will get into that later on. Here is an example of basic polytonality. I`m using a Gb triad over a C triad. It gives us a feeling of an altered scale, but with something more than the standard sound.. Audio example: M9, S1, E2
Usable major- and minor triads over C maj7 All examples are played in root position, second inversion and first inversion. Audio examples: M9, S2, E1 to E6 Major triads: 1. G major, gives us the 5th, 7th and the 9th --- ionian or lydian scale.
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2. D major, gives us the 9th, #11th and the13th --- lydian or lydian #5 scale.
3. E major gives us the 3rd, #5th and the 7th --- lydian #5 scale.
4. F major, gives us a natural 11th and sounds quite nice despite the 3rd – 11th interval --- ionian scale.
VOICINGTIP! Here’s a cool voicing for the F triad:
Minor triads: 1. A minor, gives us the root, 3rd and the 13th. Sounds a bit generic ---ionian, lydian or lydian #5 scale.
2. B minor, gives us the 7th, 9th and the #11th --- lydian or lydian #5 scale. 45
Usable major- and minor triads over C7, C7alt and Csus7 Audio examples: M9, S3, E1 to E11 Major triads: 1. D major, gives us the 9th, #11th and the 13th --- mixolydian or mixolydian #11 scale.
2. Eb major, gives us the 5th, 7th and the #9th --- half-whole scale.
3. Gb major, gives us the 7th, b9th and the #11th --- altered or half-whole scale.
4. Ab major, gives us the root, 9th and the b13th --- altered scale.
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5. A major, gives us the b9th, 3rd and the 13th --- half-whole scale.
Sus7 chords: I have included two different left hand voicings here. 1. F major, gives us the root, 11th and the 13th --- mixolydian scale.
2. Bb major, gives us the 7th, 9th and the 11th --- mixolydian scale.
3. Db major, gives us the 9th, 11th and the 13th, a really nice sus4 b9 sound --- expanded scale comprised of C mixolydian and Db lydian. Experiment with this one!
Here are some special triads over C7 chords. I`ve included two of my favorite “illegal” upper structures. Enjoy!
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1. B major, gives us the maj7th, #9th and the #11th --- expanded altered or expanded half-whole scale. Just include the tone B and there you go. Audio examples: M9, S4, E1 to E5
Here is an expanded C altered scale. Notice the inclusion of the tone B.
2. E major, gives us the 3rd, maj7th and the 13th --- expanded altered.
Both of these upper structures depend on good voicings to sound nice. I`ve included one voicing for each triad: C7 with a B upper structure:
C7 with an E upper structure:
Minor triads: Audio examples: M9, S5, E1 to E4 48
1. Db minor, gives us the 3rd, b9th and the b13th --- altered scale.
2. Eb minor, gives us the 7th, #9th, and the #11th --- altered or half-whole scale.
3. F# minor, gives us the b9th, #11th and the 13th --- half-whole scale.
4. A minor, gives us the root, 3rd and the 13th --- half-whole scale.
”Independent” b7 sus4 chords: Audio examples: M9, S, E1 to E6 1. D minor, gives us the 9th, 11th and the 13th --- mixolydian scale.
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2. Bb minor, gives us the 7th, b9th and the 11th --- expanded altered scale, just add the note F.
3. F minor, gives us the root, 11th and the b13th --- expanded altered scale, just add the note F.
Usable major- and minor triads over C-minor7, C-minor/maj7 and C-minor7b5
Major triads: Audio examples: M9, S7, E1 to E10 1. F major gives us the root, natural 6th and the 11th --- dorian or melodic minor or whole-half scale. (When using the whole-half scale, remember to raise the 7th in the left hand voicing).,
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2. G major, gives us the 5th, natural 7th, and the 9th --- melodic minor scale. (Use a natural 7th in the left hand voicing with the whole-half scale)
3. Bb major, gives us the 7th, 9th and the 11th --- aeolian or dorian scale.
4. D major, gives us the b5th, natural 6th and the 9th --- whole-half scale. (Use a natural 7th in the left hand voicing with the whole-half scale)
5. Ab major, gives us the root, 3rd and 6th --- aeolian or whole-half scale. (Use a natural 7th in the left hand voicing with the whole-half scale)
6. B major, gives us the 3rd, b5th and the natural 7th --- whole-half scale. (Use a natural 7th in the left hand voicing with the whole-half scale)
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7. Db major, gives us the 6th, b9th, and the 11 --- phrygian or locrian scale.
8. Gb major, gives us the b5th, 7th and the b9th --- locrian scale
Minor triads: Audio examples: M9, S8, E1 to E7 1. D minor, gives us the natural 6th, 9th and the 11th --- dorian or melodic minor scale.
2. F minor, gives us the root, 6th and the 11th 1 --- aeolian, phrygian, locrian or whole-half scale. (Use a natural 7th in the left hand voicing with the whole-half scale)
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3. Ab minor, gives us the 3rd, 6th and natural 7th --- whole-half scale. (Use a natural 7th in the left hand voicing with the whole-half scale)
4. Bb minor, gives us the 7th, b9th and the 11th --- phrygian or locrian scale.
5. B minor, gives us the b5th, natural 7th and the 9th --- whole-half scale. (Use a natural 7th in the left hand voicing with the whole-half scale)
Upper structures based on fourths
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Every pentatonic major scale contains three fourth chords built from the 2nd, 3rd and 6th note of the scale. C pentatonic gives us the following fourths: Audio examples: M10, S1, E1 to E3
You can use this principle when it comes to voicings, just as we did with triads, and use the fourths as upper structures based on the pentatonic scale you use over the current chord. I wrote about usable pentatonic scales previously and which you could use over the four chord types. Use these scales to build upper structures! Here is an example where we build fourths from the 2nd, 3rd and 6th step of a Gb pentatonic scale, over a C7 chord. This gives us a C7 altered chord:
You can use any left hand voicing you want to from the scale you’re playing in! Example: Here is a fourth chord built from the second step of an F pentatonic scale. We then use this over a rootless Cminor/maj7:
Not all the theoretically correct pentatonic scales sound good, so I`ll write up some of my favorites over each chord group. Some of these are built from several pentatonic scales, hence the reason that some have more than three fourth chords!. Usable fourths over C maj7 and C maj7#11 chords: 54
Audio example: M10, E1
Notice the third fourth chord that gives a lydian fell because of the F# tone.
Usable fourths over unaltered dominant 7th chords: Audio example: M10, E2
Usable fourths over altered dominant 7th chords: Audio example: M10, E3
Usable fourths over C7sus chords: Audio example: M10, E4
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Usable fourths over C minor, C dorian and C phrygian chords: Audio example: M10, E5
Usable fourths over minor 7thb5 chords (locrian and minor b5): Audio example: M10, E6
REMEMBER: These are only the “pure” fourths. You can also use augmented and diminished fourths. These occur when you build fourth chords from each step of a scale. We talked about this as practice tips on page 11. Here is a example of an augmented fourth from C locrian over a Cm7 base. This gives us a Cm7b5 chord: Audio example: H10, E7
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The fourth chord is “augmented” in the bottom interval between the Gb and the C. This opens up a lot of possibilities and you can use all the diatonic fourth chords in every voicing. Use them in the right and left hand. You can also mix them up with 7th chords and. Here are diatonic fourths in C dorian: Audio example: M10, E8
Here are diatonic fourths from C dorian in the right hand, over a Cm7 base in the left hand: Audio example: M10, E9
Here are diatonic fourths from C dorian in both hands an octave and a 2nd apart: Audio example: M10, E10
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So there are a lot of possibilities for creating voicings with this concept. Don’t forget to add 7Th chords and triads in one or both hands!
Upper structures in practical use I am using ”Stella by starlight” by Victor Young as the basis for demonstrating upper structures in a musical way. You can use these structures as both voicings and solo lines. This is a basic solo piano version without the melody. I`ve only used the upper structures in the right hand in this example, but you can switch them around and do whatever you feel like as long as you remain in the same scale with both hands. Audio example: M11, E1
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1. From half-whole scale, G/G#, E/F, Db/D og Bb/B. Symmetric triads from the scale. 2. Fourths from ionian and lydian. (They harmonize the melody quite nicely here). 3. Fourths from E locrian/minor b5 over Emb5 and fourths from A altered over A7. 4. Fourths from ionian and Lydian. (They harmonize the melody quite nicely here too). 5. Db over G7 base, diatonic fourths from G altered scale.
REMEMBER: You can use upper structures whenever you want to include tension tones and when you want “that” sound. These are great for creating movement within chords and for tying together progressions. Use them, for solo lines as well as chord structures. Triads and fourths sound great and compliment the basic shell voicings that we talked about earlier. You get a wide range of sounds when you mix these together in voicings. Everything is allowed and if it sounds good, then it is good!
Implied 2-5-1 progressions
You can expand a standard 2-5-1 progression. We do imply harmony by “adding” other 2-5 progression. This can also be done with other progressions, but we`ll stick with the 2-5-1 for now. We then use the new scales that belong to the new chords and stretch the original harmony further. I`ve modified the lines below to fit the new superimposed chords. Lines that have a lot of chordtones work best as they contribute to outline the new harmony. Here is a 2-5-1 progression in C and this is used as the template for all the examples below: Audio example: M12, E1
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We now substitute the dominant with a 7th chord a tritone step away: Audio example: M12, E2
Now we use the 2 chord that belongs to the new 7th chord: Audio example: M12, E3
These are great tools to use when soloing and you give yourself more harmonic content to play over. It works wonder on chord charts where the original harmony moves slowly from one chord to the next. You can play these substitute chords regardless of the harmony played by the other musicians since these sound strong enough to give a sense of independence without “crashing” with the original harmony. Just remember the lines with lots of chord tones help to establish to imposed harmony better than say, chromatic lines Here are some more examples of implied progressions over the base 2-5-1 template in C: Here is a 2-5 a halftone above the original 2-5 and we also shorten the duration so that it firs within the four bars: Audio example: M12, E4
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We can also do this underneath the original 2-5: Audio example: M12, E5
Here’s and added b5 7th with its respective 2 chord leading to the original 2 chord: Audio example: M12, E6
Now we expand the progression with a chromatic 2-5 above the imposed 2-5 from the previous example: Audio example: M12, E7
¨ Here is a 2-5 with a b5 7th leading to the original 5 chord: Audio example: M12, E8
Here’s a bunch of chromatic 2-5 progressions: Audio example: M12, E9 62
Now we postpone the resolution to the original 1 chord by adding a 2-5 a half tone above: Audio example: M12, E10
There are tons of different combinations, especially when you start to stretch the resolution of the original chords. If you overdo it, it might just sound as if you’re playing in the wrong key. REMEMBER: 1. This is all added harmony that’s not in the original composition but can be used to add exciting lines and harmonic background for soloing. 2. Simple lines that contains a lot of chord tones accentuates the new harmony is usually the best starting point. 3. When you hear these implied in your “inner” ear it much easier to play them with conviction and authority. The listener will also perceive this as intended playing from you.
Other implied progressions
We can also use cyclic movements. Coltrane’s “Giant Steps” uses a cyclic movement in minor 3rds. We can also use stepwise movements, movments in 2nds, fourths and fifths. Well come back to this in the chapter “approach chords”
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Heres an example of a minor 3rd based progression ove the 2-5-1 template in C: Original progression: Audio example: M12, E11
Implicated harmony based on minor 3rds: Audio example: M12, E12
Experiment with different intervals and approaches.
Reharmonization techniques Reharmonization is often used in composing, arranging and as harmonic effects in improvisation. Implied harmony is a form of reharmonization and we will go through more techniques in this chapter. There are many ways to approach reharmonization and I have included the ones I like. I find these to be the most musical and easy to use methods. You will hopefully be inspired to break new musical ground using these techniques.
1. Modal reharmonization We have discussed this in the first chapters and we reharmonize by altering the modal scale. We then create new harmonic colors without changing the basic function of the chord.
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2. Relative key reharmonization Every major and minor scale has a relative key. A relative key is a scale that starts from the same note, but have the opposite quality. C minor is the relative key to C major. If we make a chart like this:
We can now start to reharmonize using chord from the same scalestep of the relative key: Audio examples: M13, S1, E1and E2
This principle also works with bigger chords (9, 11 and 13th chords) and in all contexts. Just remember to mind the melody. This technique also works with progressions in a minor key. Just do the opposite and replace chords with the respective chords from the scalestep of the major key. This technique is great for adding interesting chords to very basic progressions. It can also be taken a lot further depending on the complexity of the chord progression.
3. Reharmonization based on thirds This is a simple concept where we exchange the original chord with a diatonic chord a third above or below. This can be done within the same scale or by using chords from the relative scale a third above or below. This technique is excellent for transforming songs that are in a major key, to a minor key and vice versa. 65
Here is a diagram of the diatonic chords in thirds above and below the original scalestep:
Here is a progression with third-based reharmonization within the same scale: Audio examples: M13, S2, E1 and E2
You can also use third-based chords from the RELATIVE scale! Here is the diagram in C major with the respective chords from C minor in thirds above and below: Audio examples: H13, S2, E4 and E5
Now we can reharmonize the original progression like this: Audio examples: M13, S2, E3 and E4
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These are basic tehniques for making dull progression come to life and are excellent tools for composing and arranging, especially you’re stuck or if find yourself writing the same progressions over and over again. Just remember to pay attention to the melody when arranging. These techniques are also great for reharmonizing larger chords. You can then choose to reharmonize from tonal center (where you can detect a clear harmonic center, as in a 2-5-1 progression). Or you can reharmonize each chord separately from the scale you want to use over that chord! Here are the first eighth bars of “Autunm Leaves” with reharmonization based on chords in thirds from the same and the relative scale: Audio examples: H13, S2, E5 and E6
Since we theoretically have four third-based chords for each main chord, we can insert more chords per bar and get a faster moving harmony: Audio examples: H13, S2, E7and E8
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If we do a modal reharmonization of the main chords, we get ever more options for the thirdbased chords. We can expand this concept even more and the possibilities are staggering. Combine it with the implied 2-5-1 technique, and you have even more options! Take your time and start small. Find some favorite substitutions and use them in a familiar tune. Remember that this is not something you should rush through, but let it take the time it needs to set in.
4. Reharmonization by using other scale-tones in the bass This technique is about changing the bass note with another tone from the same scale. This creates interesting new textures and flavors of the same chord without interfering with the original scale and harmonic function of the chord. We can create melodic lines on the bass, as well as pedal point and other interesting movements. Audio example: M13, S3, E1
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It’s a good thing to include the root in your voicing since its not present in the bass, but it is not a requirement. Here’s an example with parallel motion in the bass (same interval in the bass on all chords, a 2nd above the root in this case). Audio example: M13, S3, E2
Here’s a version using a pedal point (stationary bass note). Audio example: M13, S3, E3
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We can also have more than one note for each chord. Then we start to use them as melodic walkingbass lines. Audio example: M13, S3, E4
Here’s a version with added chromatic approach notes. Audio example: M13, S3, E5
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All of these methods can of course be used in conjunction with the other reharmonization techniques!
5. Reharmonization by using approach chords We often use chromatic approach notes to hit a “target”. In this example I want to “hit” the C and F (note the arrows) by using chromatic approach note. Audio example: M13, S4, E1
This is a great way to introduce tones that aren’t part of the current scale. We can expand this concept to include chords! We can use them chromatically, stepwise or in descending/ascending movements. They tend to sound the most coherent if there is a common top-tone binding them together
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Here is an example where the Cmaj7 is the target chord. The G top-tone is a common note between all the scales used below. Audio example: M13, S4, E2
Here is an example where we use four approach chords to hit the Cmaj9, two underneath and two above. Audio example: M13, S4, E3
The chordquality (major, minor, altered, whatever) does not matter here. Use the type that goes with the melody! Here is an example with four chords in a stepwise motion. Audio example: M13, S4, E4
Anoher way is to use chords of the exact same type and tone composition. Here is an example of fourth chords underneath the G top-tone. Audio example: M13, S4, E5 72
These kind of structures work well in any setting. this last example uses random intervals for the fourth chords. Audio example: M13, S4, E6
Now that we have been through these different approach methods, you can start use any interval for approach chords, creating new and exiting prorgessions. It is always a good idea to start small with strict rules, and then move on to total harmonic freedom.
6. Reharmonizing each melody tone This method is about harmonizing each melody tone separately with an independent chord for each tone. You can use any type of chords as long as you keep the melody intactHere is an example that uses both parallel and independent chord progressions. I`ve opted for a modern arrangement here, but the principles also work when creating basic progressions. (I put in an extra chord in the 6th bar because I liked the resolution): Audio example: M13, S5, E1
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There is a lot of logic and common structures in the example above. These are chords with the same structure moving in a stepwise motion. These are built of two 4ths a minor 2nd apart, which gives it a “compact” sound. This opens up into a wide structure/sound in the second bar. The two first beats of the third bar is a minor triad and a diminished triad moving in opposite directions via A7b13/C # into a wide structure/sound in the fourth bar. Again we use of compact sounds resolving into wide structures. Bar seven repeats the structures from the first bar and “lands” on a Gb/C that gives us a tonic feel.
Polytonality and composite scales
UIntil now we only talked about “regular” harmony such as modality, symmetry, blues and pentatonics. Now we take it little further and talk about polytonality. Some of the examples below can be classified as bitonality, but I like to label anything with more than one tonality simultaneously as polytonal. Less fuss, easier to use! 74
An easy way to start is to “deconstruct” regular chords. I think of deconstruction as adding notes that “disturb” the quality of the original chord. You can add a natural 7th to a C7 chord or a major 3rd to a Cm7 chord an in this way disturb or distort the original quality. Then we can include these new tones in scale we use on the original chord and get a composite scale. Here are some examples: Audio examples: M14, S1, E to E3
Let’s move on and put different scales together, creating new composite scales. Here are some triads with their respective scales underneath. Audio example: M14, S1, E4
When we combine a C major and an Eb major scale, we get this composite: Audio example: M14, S1, E5
This scale has a sort of altered scale sound to it and I would use it over altered 7th chords.. When we combine C and F# major, we get the chromatic scale: Audio example: M14, S1, E6
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When we combine a C major and an A major scale, we get this composite. Audio example: M14, S1, E7
I think that this has a “lydian” sound and I would use it over lydian chords. We can of course combine minor chords, 7th chords, minor scales, melodic minor scales and so on. The possibilities are almost endless. Experimentation is the best way to get these sounds into your inner ear. You can also use this approach to polytonality over standard tunes in order to expand the harmonic content. Here’s an example using eight bars of “Autumn Leaves” using “outside” triads over the regular chord changes. I`ve simplified the original chords and use basic triads only to illustrate the principle. Audio example: M14, S2, E1
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(I chose a pure A minor chord in the 6th bar because I liked the sound better than an Am7b5). We can also add a 7th to each chord. Audio example: M14, S2, E2
The only thing to watch out for is that there might be a lot of enharmonic tone doubling and these will then sound stronger than the rest of the tones. Here’s an example: Audio example: M14, S2, E3
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Experiment with different inversions, ranges, intervals, structures and chords.
Use of scales to play polytonal
Using several tonalities at the same time is fun. But the sound might take some getting used to and it’s not easy to know where to start. Let’s start by building scales from each scale tone of the original scale. Let me explain: If we take C dorian as our main scale we then have the scale tones C, D, Eb, F, G, A and Bb. Well then build separate dorian scales from each of these steps, ending up with D dorian,. Eb dorian, F dorian, G dorian, A dorian and Bb dorian in addition to our primary scale, the C dorian. Some of these additional dorian scales contain a lot of tones that are common to the main scale of C dorian. There’s nothing wrong with this and the result is that the scales with most common tones will sound more “in” and the ones with the least common tones will sound the most “out there”. Here is a line in C dorian over a C dorian chord: Audio example: M14, S3, E1
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Here is the same line in Eb dorian, a scale that have few common tones and has a dark sound compared to the C dorian chord: Audio example: M14, S3, E2
Here is the same line in A dorian, a scale that has few common tones and a bright sound compared to the C dorian chord: Audio example: M14, S3, E3
Here is the same line in G dorian, a scale that have a lot of common tones and a small amount of brightness compared to the C dorian chord: Audio example: M14, S3, E4
Here is the same line in F dorian, a scale that have a lot of common tones and a small amount of darkness compared to the C dorian chord: 79
Audio example: M14, S3, E5
How you conceive the color or feel/mood of a scale, is entirely up to you. I describe them as I perceive them, but do what is feels right for you. This field is entirely subjective. We can also build dorian scales from the tones that are not found in the primary scale (C dorian in this example). We would then have Dd dorian, E dorian, F# dorian, Gb dorian and B dorian. Here is the same line in E dorian, a scale that does not have a lot of common tones and sound really bright over the C dorian chord: Audio example: M14, S3, E6
Here is a little improvisation using different dorian scales over a C dorian chord: Audio example: M14, S3, E7 You can use any scale as a primary scale for building new scales. Listen to how each scale sounds over the primary scale and determine the color. I think that this is a great introduction to a huge and overwhelming universe of sound possibilities. Start using different scale types over the primary scale and advance to using any scale over any chord. There are no limits and you will end up free from constricted and planned tonality. A lot of this will come from experimentation and this type of approach might not be the right one for you. But everyone should at some point be exposed for these polytonal sounds; after all you won’t be left scarred for life because of a 80
composite scale. Remember that you are constantly training your inner ear by exposing yourself to new sounds, and what you perceive as “ugly” or “wrong” at this time, might change as you expand your musical palette.
Last thoughts
We have been through a lot of concepts for improvisation and a lot of theory. It will take some time to get some of these concepts functional to a degree where you can use them in a live playing situation. A lot of these new sounds will sound strange until they become second nature on par with major and minor. The beauty of this is that you can work with these concepts until the end of time, and still find new ways of approaching improvisation and harmony. It will take a lot of effort and time and you need to be open to new sounds. Explore and experiment in your own way. Focus on the methods that feel right for you, that way you`ll acquire the information and knowledge in a manner that benefits your playing! Remember that nothing is “wrong”, and if it sounds right, it is right!
Good Luck!
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