Lesson with Franzman

I've wanted this too, but... but... why haven't I been told that it's possible.. Robin, you make me cry... :sadtears: I want a private lesson too...

To be honest, it never occured to me to do these...

Okay...

What do you know about:

Chords?

Scales & modes?

...

This is more like it :shifty:

I would like some basic theory behind chord progressions, melody composing, harmony and scales. Some Jazz Composing 101. ^^

With simple step by step exercises to go along with (if it's not too much to ask for, I feel like I've already bothered you enough :sadtears: )

Cool.

Does this make sense to you?

Indeed it does. To some degree.

The modes is (correct me if I'm totally wrong)

I - Ionian - Tonic

ii - Dorian - ?

iii - Locrian - ?

IV - Phrygrian - Subdominant

V - Mixolydian - Dominant (leads back to Tonic?)

VI - Aeolian - (the natural minor scale)

? - ?

Modes are, of the Major scale

I - Ionian (Major scale)

ii - Dorian

iii - Phrygian

IV - Lydian

V - Mixolydian (Dominant - often does lead back to I, in trad classical and jazz theory...but they're so much more)

vi - Aeolian (natural minor, yes)

vii - Locrian

Here they are, modes of C Major- with their respective Major key-signatures to demonstrate how the major scale is altered. I.e. D Dorian differs from the D Major scale in that the 3rd, and 7th have been flattened.

Thus, there's the two ways to approach learning/using modes: 1) Parent scale. D dorian = C Major, starting on D. 2)Altering relative Major scale. D dorian = D Major with b3, b7.

I use the parent scale, dumbing it all down to a relative parent scale....you can decide which one works best for you.

Still with me?! :sadtears:

Modes are, of the Major scale

I - Ionian (Major scale)

ii - Dorian

iii - Phrygian

IV - Lydian

V - Mixolydian (Dominant - often does lead back to I, in trad classical and jazz theory...but they're so much more)

vi - Aeolian (natural minor, yes)

vii - Locrian

Here they are, modes of C Major- with their respective Major key-signatures to demonstrate how the major scale is altered. I.e. D Dorian differs from the D Major scale in that the 3rd, and 7th have been flattened.

Thus, there's the two ways to approach learning/using modes: 1) Parent scale. D dorian = C Major, starting on D. 2)Altering relative Major scale. D dorian = D Major with b3, b7.

I use the parent scale, dumbing it all down to a relative parent scale....you can decide which one works best for you.

Still with me?! :sadtears:

Yes, I think I get it ^^ (I'm just gonna repeat what you said to see if I get it right)

If I encounter a Dm, I just use D Dorian/C major scale starting on D. If I encounter a F#m, I use F# Dorian scale/E major scale starting on F#

Yep, I got it.. :shifty:

I think it'll be alot easier to go with the parent scale thinking, atleast for a start.

Yes, I think I get it ^^

...I think it'll be alot easier to go with the parent scale thinking, atleast for a start.

Yeah, some people find it easier to know where a mode falls within a parent scale (myself included), while others use the chord suffix (the min7 part) to tell them which notes are different.

As long as you know which is which, and how to quickly identify them visually, you'll be all right.

Here's where the chord-scale relationship comes in. Each 7th chord of the parent scale, relates to a particular mode(s). I'll use the most common chord symbols.

I - ionian - FMaj7

ii - dorian - Gmin7

iii - phrygian - Amin7 ...[ Amin7(b9) ]

IV - lydian - BbMaj7(#11)

V - mixolydian - C7

vi - aeolian - Dmin7 ...[ Dmin7(b6) ]

viii - locrian - E

What about other scales? I kinda realise that you cannot just survive on modes alone. :D Obviously there is the Blues scale, but I'm kinda curious about the Bebop scale and other "advanced" scales. How do you use them?

Perhaps you could go through some melodic theory too? ;)

What about other scales? I kinda realise that you cannot just survive on modes alone. ;) Obviously there is the Blues scale, but I'm kinda curious about the Bebop scale and other "advanced" scales. How do you use them?

Perhaps you could go through some melodic theory too? :)

Sure.

One more thing before them...don't forget the minor scale (specifically, the ascending melodic minor - jazz minor).

C D Eb F G A B

Modes are as follows:

i - minor-major - Cmin-maj7 (minor third, major seventh)

ii - dorian b2 - Dmin7(b9)

III - lydian augmented - EbMaj7(#5)

IV - lydian dominant - F7(#11)

V - mixolydian b6 - G7(b6)

vi - locrian #2 - A

Sure thats cool ^^

So, when will we continue?

So, when will we continue?

Soon. I'm in the middle of an apartment hunt, and school starting, so I'll be a little slow for a few days. ;) :mellow:

What about other scales?... I'm kinda curious about the Bebop scale ...

So, we've got a handle on major & minor scales/modes/chords. Cool.

Bebop scales are an invention by (duh) the beboppers...and here's why: The whole thing of bop is 'running changes'. Up, down, left, right - arpeggios, guide tones, alterations and extensions, tri-tone subs...it's all just running changes. Now, when you see a Dominant chord, and should you choose to play the descending mixolydian mode, it doesn't line up properly.

8th notes being the boppers choice:

C Bb A G F E D C
1  + 2 + 3 + 4 +[/CODE]

See?! All the strong beats have non-chord tones on them. Sucky! By Adding a single quick passing note, we can fix this.

Nice!!

Going down is when the coolness is so apparent. Either way, the extra note plops the root right down on 1 of the next bar, setting you up nicely for the next chord.

Bebop Dominant: C D E F G A Bb [ B] C

Bebop Dorian: C D Eb [E] F G A Bb C

Bebop Major: C D E F G [Ab] A B C

The added notes are simply to help it flow better and shouldn't really sound or be accented...

So all you do is add a chromatic note? Simple. :whistling: I thought it was much more complicated than that.

I think that we should move onto (or rather, move back) melodic construction and such, because just knowing the scales and modes won't do it for me (i'm just too dumb I guess ;)). I want to know how I can use this knowledge and put em into composition and arrangement (and ofcourse in Improvisation, because what is improvisation without somesort of melodic logic/thought behind it?). ^^ Do you follow?

I think that we should move onto melodic construction and such... I want to know how I can use this knowledge and put em into composition and arrangement (and of course in Improvisation, because what is improvisation without somesort of melodic logic/thought behind it?)

Okay...

What you need to do is be aware of two parts of all this. Chords and scales. Chords and chord-tones are what sound good, and let listeners know you know what you're doing. Scales are good for connecting everything together; again, so you sound like you know what you're doing.

Attached is a leadsheet for the Kern/Hammerstein tune 'All The Things You Are'.

Now, chord tones - a good way to organize yourself melodically is with 'target notes'. It may be at the end of a 4 measure phrase, in the middle of an 8th-note run, or at some main tonal shift in the tune. The point is, to have a clear goal in sight, and a clear way to get there.

Guide Tones (not sure if I mentioned these here): are the third and seventh of a chord. These notes make up the meat & potatoes of the chord. 1 and 5 are merely filler, and have little to do with defining the chord; 9, 11, 13 are simply color. The 3rd defines major/minor. 7th, dominant/otherwise.

A cool thing about 3rds and 7ths appears when you analyze the ii-V7-I progression. Looking at All The Things, measures 2-4.

Bbmin7 ... Eb7 ... AbMaj7.

We all know the construction of 7th chords, right?

Start on the 3rd of Bbmin7: Db.

What's the next logical choice, for Eb7? Db. (7th)

And for AbMaj7? C (3rd)

Flows nicely: Db, Db, C.

Works the other way too

7th of Bbmin7: Ab

3rd of Eb7: G

7th of AbMaj7: G

Alternating 3rds and 7ths makes a nicely contoured line: works beautifully for backgrounds. These work well for target notes in improvisation.

Quickie assignment: For each chord, pick a single note, find a line that flows nicely through the changes. Avoid 1 if at all possible...5 is okay...3rd or 7th preferable.

...in 4-measure phrases:

C Db Db C | C B B-B |

Bb Ab Ab G | G F# F#-F# | G F# F#-F#||

A A G#-G# | Ab Ab G G

F E Eb D | Db Db C-C ||

Another one:

Ab Ab G G | F F E-E |

Eb Eb D D | C C B-B | C C B-B ||

E D# D# E | Eb Db Db C |

C B Bb A | Ab G G-G ||

Dunno how it sounds as a whole, but it goes to show that a simple line can be found to weave through the changes. Looking at the melody for All The Things you'll notice that it uses (for the most part) 3rds of the chord. Neat, eh?!

Now, what to do is to pick one of these notes as a target, and utilize scales/modes to aproach and unify them.

SO: looking at the tune, can you identify the parent major (or minor) scale for each chord?

....aaaaaaand.....GO!

Ok, I'm ready to resume this. :shifty:

Here's my take on guide tones to this song: (sorry if I'm a pain in the donkey with my way of writing)

Chord | Parent Major Scale

F-7: Eb Major

Ab

Bb-7: Ab Major

Ab

Eb7: Ab Major

Bb

AbMaj7: Ab Major:

C

DbMaj7: Db Major

B

G7: C Major

B

Cmaj7: C Major

E

C-7: Bb Major

Eb

F-7: Eb Major

Eb

Bb7: Db Major

F

EbMaj7: Eb Major

G

AbMaj7: Ab Major

G

D7: G Major

A

Gmaj7: G Major

B

A-7: G Major

C

D7: G major

C

Gmaj7: G Major

F#

F#-7: E Major

A

B7: E Major

D

Emaj7: E Major

D#

C+7: C# Major

Eb

F-7: G Major

Eb

Bb7: Db Major

F

EbMaj7: Eb Major

G

AbMaj7: Ab Major

G

DbMaj7: Db Major

Ab

Db-7: B Major

C

C-7: Bb Major

Eb

Bdim7: B Whole-Half Scale

D

Bb-7: Ab Major

D

Eb7: Ab Major

Db

Abmaj7: Ab Major

C

Good, the concept is solid...but you might also think about the line, and smoothing it out. Think of them like Bach, and four-part-harmony. You always want the smoothest and most logical line... generally. So, somethings to think about:

F-7:

Ab

Bb-7

Ab

Eb7:

Bb

AbMaj7:

C

DbMaj7:

B :huh: ...maybe stay with the C ;)

G7:

B

Cmaj7:

E (bit of a jump here, but it does set you up nicely for the descending line...)

C-7:

Eb

F-7:

Eb

Bb7:

F (...which you abandoned here. Could have gone to D, and kept that going....then to D again, C, C, B....) :whistling:

EbMaj7:

G

AbMaj7:

G

D7:

A

Gmaj7:

B

A-7:

C

D7:

C

Gmaj7:

F#

F#-7:

A

B7:

D (D#)

Emaj7:

D#

C+7:

Eb (A tricky one....E-natural)

F-7:

Eb

Bb7:

F

EbMaj7:

G

AbMaj7:

G

DbMaj7:

Ab

Db-7:

C

C-7:

Eb

Bdim7:

D

Bb-7:

D (Db)

Eb7:

Db

Abmaj7:

C

Generally, it's quite nice and would probably work well. Do you want to try and play it? (Check your PMs) If you want to , play it and see...it'll give you a good idea of what works and what doesn't.

God, i tried playing whole notes over this and some things sounded out-right horrible. I think I'll have to reevaluate my choices. :p

God, i tried playing whole notes over this and some things sounded out-right horrible. I think I'll have to reevaluate my choices. :p

There you go...

Essentially, what you're doing is writing a melody (a scrafty, boring one), and some melodies are stronger than others. Take what sounded bad, and tweak it a bit, feeling out the best resolutions and contours...

...

Hello again. I need some advise on range improvement and support strengthening. I'm having serious trouble with my range above G4 and my lead 'bone chair position now demands Bb4's and possibly even a C5 from me. =/

So a bit of solid tips from you would be gold worth.

Hello again. I need some advise on range improvement and support strengthening. I'm having serious trouble with my range above G4 ...

So a bit of solid tips from you would be gold worth.

Air. Lots of it...and FAST!!

Long tones are the key to unlocking the path to the mysterious land of lead trombone playing.

Take your time...don't rush this. If you do, it won't work.

Do you maintain a daily routine? Warm up? Do you own a metronome and a tuner?

Do this first, every day (with metronome and tuner): Warmup/Long tones + flexibility (lip slurs).

THEN, range-building. It's as basic as apreggios...hold the top note for as long as possible. It'll BURN, but embrace it. That's your muscles working out. Also, take breaks between exercises. Give your face a chance to rest.... and use a tuner.

ALWAYS maintain a good solid foundation to support higher notes. And, if the note won't speak keep trying, you're training your face so even a failed attempt is useful.

Playing scales into the upper register will help strengthen everything, aiding in tuning and precision...use a tuner. It's just a matter of conditioning yourself to get up there. With a bit of work, C's D's...F's. No problem.

Did I mention you should use a tuner?

;)

My daily routine is worthless. I don't really know what to do. I get stuff from my teacher (slurring, tonguing exercises ect..) but I feel that I don't have enough dicipline at all to do anything with it, the teacher I had my first 5 years never adressed any of my embouchure issues, infact he never talked about anything that had anything to do with actually playing the instrument (except playing boring orchestral tunes) so I have to relearn my entire way of playing the darn thing.

Here's what I usually do: 2 times a week (!) at home

• Do some slurring exercises 5-10 minutes
  
  
• Do some tounging exercises 2-5 minutes
  
  
• Perhaps some long notes, but never too high (I usually stop at G4), as I can't go higher comfortably (I've hit a D5 once.. highest ever I think) because my embouchure sucks. My upperlip starts pressing on the mouthpiece and my throat gets tense. This is possibly my biggest issue, aside from the lack of air & support.
  
  
• and then finally I put on the Aebersold Bb Blues track and just improvise for a few mintues...
  
  

This self-revelation has been really tough for me, and my self-esteem is going up and down. I don't really know what to do to fix it..

More work on long tones in the low/mid register will be a big help. To strengthen the embouchure and give your upper-register something solid to work from.

Focus on getting a good, centered sound and playing in tune. Building upwards as your middle-register extends higher.

You can't play every day? It's tough when you can't devote yourself to playing more... 5-10, 2-5 minutes.... it'll take a little more time than that. You're working on an anaerobic exercise, which will take time for the muscles to adapt to what you're making them do. I try and spend about a half hour just on the first exercise for a warm-up.