Modal Jazz Improvisation
New Ways of Thinking Music
|Composer, Teacher & Keys:||Oliver Prehn|
|Engineering & Support:||Jonathan Prehn|
|Join Oliver Prehn at Facebook:||www.facebook.com/prehn.music|
Advanced Jazzy Blues Improvisation using 2 Simple Hand Grips
a NonScale Approach!
||: Fm :||
Mess Up the Dorian Mode making Non-Diatonic Sound taking Advantage of the Consonant & Symmetric Features from Dorian Mode.
||: Eb-Dorian/e || D-Dorian/eb :||
Explaining the CIRCLE OF CHURCH MODES - a very useful illustration to locate, describe and arrange all seven modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian.
Exploring the universal interval pattern of the church modes and developing nice sounding improvisation tricks that can be used and reused, no matter what church mode we are playing!
Playing all seven jazz modes using the minor pentatonic scale pattern.
||: Dorian | Ionian | Locrian | Aeolian | Dorian | Phrygian | Lydian | Mixolydian :||
We bring order to the chromatic chaos using Pentatonic hand grips ordered in a straight sequence that fits the octave. This video gives you a structured sound of a NON-diatonic world.
Keynote G: Constantly switching between Gm pentatonic, Bm pentatonic & Ebm pentatonic.
Keynote C: Constantly switching between Cm pentatonic, Em pentatonic & Abm pentatonic.
An approach on playing the Dorian mode using Pentatonic scales and structures instead of playing the Dorian scale 'up and down'.
|| F Dorian ||
F, C & G Minor Pentatonic which represents the Dorian Scale
This playlist of short tutorials from NewJazz are mostly based on stuff from the more comprehensive lessons above. With the short tutorials you can more easily zap between different ideas on music improvisation. For a more detailed view please visit the lessons above.
Organ Jazz&Rock Fusion. Playing inside and outside Dorian Scale.
Improvisation Material (after the short intro theme):
Playing inside and outside a-dorian using pentatonic structures
Blue text above the Solo Organ when playing inside a-dorian Mode and red text when playing outside a-dorian Mode.
||: Gm9 | Fmaj7(6,9) :||
||: Ebsus /E | Dsus /Eb :||
Fermat (end chord):
(drum intro) 4x(AB)
Gm9: G Dorian
Fmaj7(6,9): F Ionian
Ebsus/E: Eb Dorian (YES, it is Eb Dorian mode with E in the bass, try it out)
Dsus/Eb: D Dorian (same as above, just moved a half step down)
Gm maj7: G melodic minor ascending
||: Dsus13 | Dsus13 | Dm(b13) | Dm(b13) :|| x3
| Dsus13 | Dsus13 | D7(#9,b13) | D7(#9,b13) ||
||: G13 :|| x4
||: A(#9,b13) :|| x4
When Dsus13 played: D dorian scale, avoid note f
When Dm(b13) played: D natural minor scale
When D7(#9,b13) played: D altered dominant scale
When G13 played: G major blues scale
When A7(#9,b13) played: A altered dominant scale
Cm, Ab7, Bb7
When Cm played: C Dorian added blue notes
When Ab7 played: Ab Mixolydian #4
When Bb7 played: Bb Mixolydian