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rhythm changes was hard until I started using triads like THIS 

Jordan Klemons - Jazz Guitar
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From a recent live Q&A call with my online melodic triads students. We were talking about rhythm changes improvisation and how to get upper structure triads into our jazz improv. I put the two topics together to lay out a simple roadmap for them to follow to see changes fast... and I want to share it with you.
1. Think of rhythm changes as a simple I IV V chord progression and use basic major triads to improvise guide tone lines that voice lead through the changes without outlining every single chord
2. Add leading tones and chromaticism to create melodic tension and resolution that pulls you through the form and creates the sonic illusion of complexity while your mind is still just thinking about simple triads
3. Sub in different upper structure triads to make those sonic illusions seem even more advanced by relying on altered upper extensions and make your lines sound more modern
This basic framework has several HUGE benefits
*It will help you appear to be "playing the changes" while thinking about a fraction of the things happening as usual... meaning you can play at significantly faster tempos than you're probably able to today
*It will allow you to shove riffs and phrases you've memorized and stolen from other greats into your solo... but you'll no longer feel reliant as you'll have a simple framework that you can just dance through to improvise your own ideas
*Because most jazz students and musicians can find the I IV V of any key... we can (almost) instantly transpose this to any key signature. If the horn player at a jam session wants to be a d**k and call rhythm changes in Db just to weed out the amateurs... you can cheat with the A section. Just think through the III VI II V for the bridge and you're good to go.
Give it a shot and let me know how it goes for you down in the comments.
Jazz and Love 💙
jordan klemons
PS - Dig this way of using triads to simplify decades worth of work?
Want to tag team some of your progress together by exploring more shortcuts that triads provide us with?
Check out this short 3-minute video of my online students sharing what they've been learning studying triads with me online, and if it sounds interesting, book a game plan zoom call so we can talk and see if there's anything I can help out with in your playing.
www.nycjazzguitarmasterclasse...

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23 июн 2024

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Комментарии : 15   
@jcmun
@jcmun Месяц назад
I still don’t finish the lesson and this was the best RC lesson I’ve ever seen. Thanks man!🎸🙌🏽🎶
@jordanklemonsjazzguitar
@jordanklemonsjazzguitar Месяц назад
Bruuuuh... Love that you're keeping so busy you can't watch a 4.5 minute vid haha 🤘🏻 Also love the compliment. It's fun, right?!?
@JoeCandidoGuitar
@JoeCandidoGuitar Месяц назад
Thanks! Great to see you in YT
@jordanklemonsjazzguitar
@jordanklemonsjazzguitar Месяц назад
Thanks Joe... not on here often enough. Gotta start posting more. Great crossing paths!
@andreaszeug3692
@andreaszeug3692 Месяц назад
A major- Bill Evans playaed some tunes in a major. i always like your stuff...
@jordanklemonsjazzguitar
@jordanklemonsjazzguitar 29 дней назад
💙 Thanks!
@lorincohen3020
@lorincohen3020 Месяц назад
Killing
@jordanklemonsjazzguitar
@jordanklemonsjazzguitar Месяц назад
This guy knows! 👆🏻 Thanks my friend holdin down the low end 💙
@rgcjac
@rgcjac Месяц назад
Jordan, I love that simplification and, of course, your chops are very cool. While simplifying, can we say it's just a 1 - V tune since the original cadence, I iv ii V, contains the V of V (ii) and the V of ii (iv)? ps - I am digging the course! Great decision on my part lol
@jordanklemonsjazzguitar
@jordanklemonsjazzguitar 29 дней назад
Stoked you're digging the full method laid out in the courses! You def CAN think of it as all I and V... but the I IV and V is closer to the way I hear Bird and Monk composing and playing over it. So that's my personal go-to... with a few additional triads I sometimes throw in that I stole straight out of Bird's ear.
@jeffb8413
@jeffb8413 29 дней назад
Can you spell out what bars you are playing the 1-4-1-5 over? Are you talking about the first four bars? Thanks!
@jordanklemonsjazzguitar
@jordanklemonsjazzguitar 29 дней назад
Correct... and then it repeats for the 2nd four bars giving you the full A section. Usually moving the IV to the iv during the 2nd half of the A section (measure 6)... this can also be done in measure 2 for a little extra motion. The loop I'm playing over is the full 8 bar A section
@banjobanjo-xn7lq
@banjobanjo-xn7lq 27 дней назад
A-F#7-Bmin7-E7 = A-D-A-E ?
@banjobanjo-xn7lq
@banjobanjo-xn7lq 27 дней назад
​@@jordanklemonsjazzguitar A-F#7-Bmin7-E7 = A-D-A-E ?
@jordanklemonsjazzguitar
@jordanklemonsjazzguitar 23 дня назад
That would cover the A - D triads. Then the next I VI ii V (or iii biiiº ii V... etc) would be the A - E. Two CHORDS per measure. But only one melodic triad per measure. That's one of the things that makes this approach so much easier as there's half as many "changes" to think about and make.
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