Dissecting Music - How To Approach Improvisation | Naz Guitar | Skillshare

Dissecting Music - How To Approach Improvisation

Naz Guitar, dissecting music!

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9 Lessons (34m)
    • 1. Dissecting Music - How To Approach Improvisation - Introduction

      2:04
    • 2. Intro to the G Major scale

      4:09
    • 3. The Modes and arpeggios

      4:33
    • 4. The Modes : continuation

      4:06
    • 5. Application in different keys

      3:19
    • 6. The Minor Scales and Modes

      3:21
    • 7. Application of concept over Minor scale and Modes

      3:10
    • 8. Chords - Cm9 to Dm7b5 to G7#5

      4:56
    • 9. Improvising over the Bossa Nova from last video

      4:51

About This Class

This is the first class in a series of classes that I will put out to introduce you to the toolkit necessary to begin music improvisation. 

These are the basic concepts you need to develop to begin conceptualizing music as a language, so that you can then speak it more freely and fluently, at a moment's notice. 

This lesson covers : 
- Every scale/mode 
- How arpeggios are built 
- How chords are built 
- Basic chord function and quality 
- Which modes can be played over which chords 
- Some 7th and altered chords 
- Brief introduction to Jazz Vocabulary and an example of a Jazz line. 

Transcripts

1. Dissecting Music - How To Approach Improvisation - Introduction: So the purpose of this lesson is going to be to dive into music theory a little bit and see how different parts of the language connect to one another to make up the whole that it's music. So with that said, Let's lay down the foundation that we're going to be using for this video. It's gonna be the G major scale. We're going to be dissecting it, and we're going to be using it for some of our examples. Campos. So let's play a G major scale to start with in two octaves. So get your finger on G. The next note is an A B. C. Now we have our G major scale. Let's go through all the notes one more time and assign numbers to them. Okay, so these air called scale degrees. So we're going. We've got three chords now. We're gonna play it as a boss. Our three chords are to seem under nine and got d minor. Seven flat five. Then we've got G seven sharp five. Okay, cool. And then back, we're gonna play like this. Okay, so that's, um S o g devil. This was to get the ball rolling and to get you to see how you can start thinking of this, how to start conceptualizing these things eso that you can start applying. That said, Take all these, run with it. Try to develop your voice. Try to develop your own concepts through these, um, and your own approach to music and enjoy 2. Intro to the G Major scale: So the purpose of this lesson is going to be to dive into music theory a little bit and see how different parts of the language connect to one another to make up the whole, that it's music. So with that said, Let's lay down the foundation that we're going to be using for this video. It's gonna be the G major scale. We're going to be dissecting it and we're going to be using it for some of our examples. So let's play a G major scale to start with in two octaves, So get your finger on G. The next note A B C sharp G restarts a see sharp. Remember, if you're still fairly new to go to the guitar, always alternate. Picked this, you might as well combined to exercises in tow one. So once again, the full scale in two octaves the G major scale thing way have RG major scale. Let's go through all the notes one more time and assign numbers to them. Okay, so these air called scale degrees, we're going to start with number one, which is G right scale. To me, one n g. Major Scutari to is a so a equals two being equals three c is for these 56 f sharp is seven and jean again is eight and it continues so on so forth. So if you need to write these down right down so it's very clear in front of you because we're gonna be using this further. So so far we've got our June major scale G A B C D E f sharp g or 12345678 Read each of those corresponding to the note name. Now let's go into our pages. So what is it? Are paid you an arpeggio is when you take a note. So let's say I say play Megyn Major arpeggio. So we know that my first note has to be G because that's the one I called. Great. So I go find a GI. That's my route. My one my number one. Right, Skelly, we won! Great! Now you take that scale and you write it out. So you measure up as you OK, so I'm gonna think of a Jew. Major scale. Take the first note and I'm going to skip one play the next one. Skip one play the next one. Skip one. Next one, etcetera, etcetera. You keep repeating this process ad nauseam. As many times as you want on, you'll have an arpeggio. The bare minimum for this is three notes. So you need one Skip one to skip 13 notes. Those are one, three and five of the G major scale in this case. Right, Because we played number one. Please tell everyone we skip skeleton to replace K. Let me three way step scaler before we play scale every five way. Have Arjun Major picture. Now we've got a scale weigh in our paid you great G. Major Scanlon, did you major arpeggio? Now let's talk about courts. Um, accord is basically an arpeggio where all the notes are played simultaneously. So it's the same ingredients, meaning it is 13 and five. And in this case of G major, those are G, B and D. So if I were to play them simultaneously like here, we have two notes on the same string has just moved that toward the open string. Right. This would be a major chord, for example, g b. D. So now we've got a major scale. We've got the arpeggio that is corresponding to that scale. You made your bedroom. Triad fuel is three notes. We call that triad, and then we have the G major chord, which is the same notes, the same ingredients as they are Pager. What played together? Great. Now you can do this off of every single scale degree that you wrote out at the beginning of the gene major scale. 3. The Modes and arpeggios: So let's start off by doing the second mode, for example, which is called a Doria. So a Dorian is the word. The name we use Excuse me for the second mode in the key of G major. So again, G major scale is the first mode of the G major key. A Dorian is the second mode of the G major key and then so on. So far. So let's stick to a For now. A Dorian basically means that we visualize RG major scale, except now we started. Instead of starting on G, we started on a and we ended on a we go like this thing. This is a Dorian G. Major would be like this. A Dorian is. You can hear the resemblance right. It's pretty close is just starting and ending on a different point in this case scale to be to is where it's starting and ending. Now we can play it here or something that you should always do is try to play it in a different position as well. So move here instead one more time. Slowly call out the notes if you need to. E d C B A. So at the same time you're learning this part of the fretboard now to Okay, cool. You don't already know it. Of course. Excellent. OK, so now we've got the A Dorian Mode in two positions. So now let's play the our pager that goes with it again following a process. The recipe we used previously we take whichever note I called. So in this case is a arpeggio. So a is gonna be my route going to think of the June major scale because that's the key were in in this case, and we're going to skip the next note going to take the one after going to skip the one following that. We're gonna take the one after that s So in this case, if you look at the scale and the scale degrees associated to each note, you see that we get to risk of three and got four. We step five will get six s. Oh, there we go. So now we've got our second or video, and that gives me if I play that simultaneously, that will give me the court of a minor. Okay, uh, we've introduced a new term here. Why? Minor. Okay. Good question. So let's talk about the intervals now. We signed scale degrees previously to the notes in the scale. So G was one a was to be was three. Let's stop there. Three. The third is the note that defines whether something is major or minor. When you have exactly this distance a meaning from G to be on the fretboard, it looks exactly like that. If you're starting on the six string, you've got this. You know, it's a major third S O. B is the major third of G major. Okay, now, if I wanted to go from G major to G minor, I would simply have to lower the B by one fret. Okay, so I will go from B to be flat would lower it a semi tone. This is called a semi tone. So this would be a major third and this would be a minor third. Now, always remember the note names. So this is a quick shorthand trick to sort of get it going. So you know that this pattern this shape is equal to mine. Third, you know that this shape is equal to a major third. However, it's very important that you know the notes because that way you can get him anywhere. So, you know, be and in and of itself is the major third. So no matter what, which be you're playing, you know that this is a major third when it's in the key of G. And you know that if you're playing a B flat, then it was a minor third relative to do. Okay, Cool. So third is what makes something major or minor. Let's go back to our A minor arpeggio. Right? So this is what way? See that it's not the same pattern already. Visually, we can tell, right, Keiko? And how maney semi toes do we have between a and this? No, there's no What is this? This is a c right. Okay, cool. So how many semi tones do we have between A and C? So a a sharp Be There is no be sharp. Let's see. Okay, so we've only got three Semi does not force that makes it admire. Third. Okay, So again, aid to see is three semi tones. That's a minor third. If it was a to C sharp, that would have been 47 times. That would be a major third 4. The Modes : continuation: So we have so far. John. Major Scale major arpeggio j Major Court way Have a Dorian, which is the second mode of the G major key right of the junior scale. Wait here, Wear the aid. Minor arpeggio. Try it. So it's three notes For now. Wait a minor chord, which is again the cords starting on the second scale degree of the G major scale. It's so far two of them down, same process for the next one. You do this for every single note in the scale, so you get B minor. Are paid your rent. You get this b d mn of shot. Interesting. What is that again? That's the same shape as before. It's a B minor chord. Great. So now we have three chords corresponding to three modes. The third mode, by the way, starting on being is called Fridge in. We call it the fringing mode. That's the third mode in the major scale. So if we're starting in G major, then it would be be frigid. If we were starting in a different key, it would be whatever else Frigid Okay, so that that name never changes for the third moat. It's just a note name that changes. Great. So now we've got the junior scale mode. Number one of the major key got the A Dorian Scale number two way beef Rhijn scale or mode mode number three C lydian would be number four on all the while You're doing this, you're repeating the process. So you're also doing the arpeggio so g major scale major arpeggio major court, Dorian scale or mode, A minor arpeggio A minor chord Be fridge in mode B minor arpeggio B minor chord C Lydian mode or scale C major Our page Ogan. Because the third note in the C Lydian mode is here, that distance is a major third, so we got to see major pager. Because of that, the third defines whether something's major or minor. We get this, which means if I use those same ingredients, it will give me this and I'll get a C major court because this note and this note of the same okay, that's a G way. Got a C major chord. So recap again. Now let's play the scale horizontally in moat G major. Hey, Dorian, be frigid. Sea loathe mix a Lydian e alien of sharp locally in G Major. Let's for the arpeggios of each of those Moz on. You could play them differently too, so you could do it this way. Okay, Now let's play the chords. So now we're going to play the court corresponding to each scale degree of that scale. So essentially, it's gonna give us the scale played in courts. So the G major scale played in courts would look like this cool. 5. Application in different keys: now, once you've done this, you actually could move to different keys and practice the same thing. So let's say we had a major. I would put my finger on a play. The scale. From there I click the arpeggio there, I play the cord, you meet your court. Then I do that for every single mode. So in the key of a major B would be the second scale of you. Which means it would be be Dorian that I need to play. So the shape stays the same. But I start on B is the same as a Dorian. But starting on be excellent. Now I played the arpeggio starting on B b minor arpeggio I paid the mind accord so the exact same shapes and patterns applied to this The note names change, but everything else remains the same. Which means I got a major be Dorian C Sharp Region. Lydian e makes eluting, etcetera, etcetera And then you could play the same thing in chords on. You should do that for as many keys as you can until you get comfortable. Always alternate. Pick these exercises. Always call out the note names and think of which scale degrees. They are. Once you've done all that, you start to see how things connect to one another. You know that Dorian is the second mode of the G major scale. You know that if you've got a d major corn and you need to be playing over here for whatever reason, you just find yourself here right now. Well, guess what? You could be playing all these notes. All the notes that are in the mix, a Lydian work over ji major, as long as you end on the right note, which would be again any one of the three target notes in the arpeggio would be perfectly fine. So now we're getting into improvisation. Okay, so we spoke about what notes work over which court. So as long as you have this, you've done this exercise. You know that all of these notes are essentially part of the same parent scale, the parent scale, in this case being G major in our example. So we know d makes a Lydian comes from is derived from G major, except it's the G major scale starting here, it's the same thing. So that's d makes a Lydian. It's the fifth mode of the G major scale, which means that I could be playing that over Jean record. I could absolutely be doing that, except if someone just holding this court and I need to be mindful of where I end and what you want to do is target the notes in the arpeggios of the cord that the company ist is playing. So if the rhythm section is on a G chord right now, then give yourself three possible targets G, B or D for now. So that means that no matter where you are a strong as you finish your idea on one of those notes, it's going to sound fine. So that's the third. No, that's a B right now. If I ended it on a D, let's say it's totally fine, OK? 6. The Minor Scales and Modes: Now that we've taken a look at the G major scale pretty thoroughly, let's take a look at the minor scale now. Miners a little bit different. There are three different types of minor scales. So you get the natural minor, which, as I said, is a part of the major scale. It's the sixth mode, right? Called alien or natural minor. So if I would've played G major right, we would get this move if I were to play G A Olean. So remember, e Alien is part of G major. But if I were to just take this shape and started on G, then it would be g alien. Okay, which would then be the sixth mode of a completely different scale, right? So just makes g equal to number six, and you could figure out what number one is. Okay, so now let's say I, Peggy Alien or Natural minor, it's the same thing way get. So that's going to this real quick. Our first notice, a Jeep. Our second orders in a our third note now would be a minor third. Like we went over to B flat. Our fourth note would be a seat Our fifth note would be a deep Our sixth would now be an e flat because that's lower to write in Major. It was like this and in minor it's like This are seventh note is also lowered right? He was here before in Major was an f sharp. Now it's in F food After natural. We call that a regular F and then a jego. So once more G A B flat C d e flat f A supposed to G A B c D b natural f sharp. That would be major. This is mine Saturday, right? So this is a natural minor. Now, Within this, you can modify a couple of things to change the sound. So if you wanted that more Middle Eastern or Oriental sound, all you would have to do is bring back that f sharp. You bring that back from the major scale, you get an f sharp again. That's a major seventh. It's called when you keep all the rest the same. You keep the rest minor so you get G A or minor third B flat, which defines it as minor C. D. You keep the fight and now you do f sharp, which is a big leap right now. Let's go back again. You can hear how that's got that Middle Eastern vibrant. Okay, cool. So this is called the Harmonic Minor scales, All right, it's just another version of minor. So there's one more minor scale, and it's the simplest one, let's say, but also the most interesting. In my opinion, it's the melodic minor scale. Um, this is basically a major scale, and all you do is have a minor third on. That's it. So you get the same notes. So let's say we had the major scale way lower the search to get a minor certain way. Unless the gene melodic minor scale Now that's the third version of Minor. It's got a different sound. The court I just played is a gene minor six, by the way. 7. Application of concept over Minor scale and Modes: So now we've got the three different minor. Moz, what you want to do has actually play them the same way as we did with the dreamer. Schizo right out the notes on. Then play all of the modes of each of these scales. Which means play the scale again, starting on a different note late in the first position first, okay? And then move it this way until you get all of the motors until Aegon of each of those minor scale so alien would be the simplest one, right? Because Australian, you would get locating etcetera, etcetera. You would keep going that way. So again, natural minor equals alien. So you know that if that's six your head because alien was the six mode next one after, it would be low creating, because that's what comes after a early in a certain etcetera, etcetera. And after that, it would be back toe Ionian, which is major. Sorry, that's the name for the major scale. And after a major scale or Ionian, you'd get Dorian. And if Dorian you'd get fridge in. These are the constants. What's changing is where you're playing them on the note names. Of course, Okay, so now that we've gone through the scales, you've practiced them in the same way that we played the major scale. So you played old modes, all the cords and all the arpeggios. Um, you understand how these things are linked and you understand? Now you can probably visualize how, by moving one note, you get a different sound. And it's all stemming from the same thing our core, which was the major scale, which was this right s. So if I just moved the third, then I get a melodic minor sound. If I move the third and the sixth Harmonic minor sound which gives me the Middle Eastern kind of vibe If I moved the third, the sixth and the seventh I love if I lower all three of those got any alien Alien is the sixth mode of the major scale, which means that from G E o N or natural minor e can deduce that I would also be able to play B flat major, which means now I can come to be flat. They might be flat, major scale and get all my modes. So I know that if B flat is now one If that's the major scale and I define it as one, then I know that to ISS, see? And I know that on two I can play adoree in movies. That's the second mode of the major scale, right? Or in the case, if I start on Alien, Dorian would be what would be the fourth mode? But they're the same right from G to see you have four from B flat to see you have to, but they're all the same notes. So the name of the mode is the same. So relative to G minor, natural minor routes. The G alien. See, Dorian is the fourth month relative to B Flat Major. Of course, See, Dorian is the second most okay. 8. Chords - Cm9 to Dm7b5 to G7#5: So now let's take a court progression. I'm going to show you the progression on. Then we're going to try it out. Try playing over and I'm gonna tell you what to play over it. And we're going to experiment a couple of things. So let's play a C minor nine chord again. How do you get that? So let's do natural minor for the sake of this. See? Natural Minor. We've gotta see. We've got a deep. We've got an e flat. We've got in f. We've got a G A Z number five. We've got a flat is number six. We've got a B flat is number seven and we got to see again as our number eight. Great. So now we're gonna play C minor. Nine. So, given the rule that we spoke about before with chords and arpeggios meaning you play one. You skip when you play. When you skip one, we're going to take our first note to B. C if we want to play C minor night. Right. So seize our 1st 1 then we're gonna take our third cause for skipping the too, right? Third, is you flat? Then we're going to skip four, We're gonna take five G. They were gonna skip six. We're gonna take seven B flat. Cool. So now we've got C. You flat g interesting. A B flat. So that's a seven. We still need to go up to nine. So that means going to skip 89 So our notes are for a C minor. Nine chord C E flat, Jean B flat on D. Ok, how do I play all that together? Okay, well, we have to admit something, right? Whenever you have a cord with too many notes and not enough fingers, what you want to omit first is the fifth. No, it's the least important note. It does not really define the chord, so to speak. So that's what we're gonna leave out. We're gonna leave out the G, and then we're gonna play all the other notes together. Okay? I'm gonna give you the court voicing just a short of this, but you can always do the exercise in your head. You're starting to see how you can logic your way through this, right? So this is a court voicing. That is easy to start with for C minor night. So again, we got to see. We need our third right. Our third note again. The interval is the same are minor. Third, we know that that was an e flat. Okay, great. Have a CNN e flat way. Skipped the fifth. We need a seven. Right. That's our seven or minor. Seventh R B flat. Right now I need the ninth on top of that. There it is. There's R D kits right here on the third fret of the B string. So sounds very nice. Cool? You could do it here, too, if you wanted to. Just stick here. It's just a little bit different because of the d being here instead. So you would have to play it like that if you were to be. Oh, it's the same thing. It's the exact same court. So this is a common voicing for D minor. Seven flat five. Because that's number two. And see, I'm going to show you a common voicing now named the notes again. Don't just play this because I gave you the shape. You know that this is Dean. You know, you have the flat five here. Regular. Five would be like this. Flight five. What is this note. Okay, I can figure it out. This if this is G, that's G sharp. Let's What else can we call it? OK, G sharp is also a flat. Great. So about a d got in a flat. What is this? We know this interval from somewhere, right? It's the same interval. So that's a minor seventh relative to deep or what? Notice that the scale of C. That's to see Interesting. Who got Dean? You got a flat or flat five Got a minor seventh, which is R C relative to D. And then all we need is a minor third to make this a minor chord because again the third defines whether something is minor or major. So I need to go find a minor third, a minor third relative to d again just to use the interval trick. If you want to do it fast, do that figure out what this notice and put it up high. All right, so thats is an f right? We know this because of our exercise playing the major scale, we had enough sharp. This is F because it's lowered. So now we're gonna dio there's an f on the B string. OK, so the six threat of the B string isn't if these are just things, you're gonna have to learn where the notes are. So here we go. Whoa, minor. Seven flat five. So now we've got two courts. You've got a C minor. Nine on. We've got a D minor. Seven flat. Five way. Okay, this is exact court. You want to call it that? And so that's one, too. And we're gonna go to five and then back the ones 9. Improvising over the Bossa Nova from last video: try to apply these. This is what I do when I am provides. Oftentimes I'm Tana sizing on and it gets you a little bit of a different sound, and then we'll talk a little bit about the lines. I'll give you a couple of things to take away so you can start playing with ease in your own vocabulary and internalizing them in your own way. So here we go. We'll start off. Simple. Okay, so what is this? No, this is that major. Third, this is the F sharp that major third, that we're targeting over the D or the leading tone of gear it. So, for example, that's what it wants to do. Start thinking of how you can play with it. That's, uh, let's try to five. Starting with deep. Resolving to the third one more time. Dissect this language quick. So over the deal you've got, that's just a passing toe. OK, just a note that's leading to the following one. That's fine. So now we're on the G. That's unaltered. Note. Right? Um, that's the same Notice a D flat one more time. 341 three. So slower, too. 341 be this year leads you back to the minor third, which is the flat of C minor. And okay, so the point of all this was to get the ball rolling And to get you to see how you can start thinking of this, how to start conceptualizing these things so that you can start applying it. I don't want to give you too many lines, because then you'll sound like me, and you should really find your own voice. But with that one line that I gave you, you should be able to take the concepts and the approach on applied elsewhere. What you're doing is figuring out which notes fit where you're figuring out when you can Thomas eyes. And when you want to Tana size, you don't always have to talk. Besides, um, and you're also than figuring out Well, what? What do I have? My tool kit? Well, if I've got a dominant chord now, has said you could have any alteration on that, Dominic, or that means I can play unaltered scale if I want to. I don't have to have a Domine court. If I don't turn to size the predominant, I could just play low Korean as well. If I Thomas has it, then I can gain access toe altered and then I That leads me to the dominant court, the dominant chord I could play if I'm in a major mode again, I could just play the fifth mode, which is a facility. Um, I could just play the fifth mode of a minor scale if I want to, or I could again play the altered scale like we just saw. So with that said, take all these, run with it, try to develop your voice. Try to develop your own concepts through these on your own approach to music and enjoy.