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In the previous lessons in this module, we learned a number of improvisation techniques. But I have
not yet covered how to put these techniques into practice in an actual song. So this lesson is about
exactly that – what to do when you rst start learning to improvise over a new song. Because,
contrary to the name, improvisation takes quite a lot of planning, preparation and practice.
Chord Mapping
Chord Mapping is just a fancy word for analysing the chord progression of a particular song. For
every single new song I learn, I map out the following:
The chords
The key each chord is in
Each chord’s Guide Tones (http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-
improvisation/guide-tones/)
Each chord’s Avoid Notes (http://www.thejazzpianosite.com/jazz-piano-lessons/jazz-
improvisation/avoid-notes/)
So that I get a table that looks as follows. I have used Section A of the Jazz Standard Satin Doll as my
example of Chord Mapping.
(Aside: Some people believe the 6th in the Dorian mode is an avoid note over a m7 chord because it is a
tritone (another dissonant interval) above the 3rd of the chord. I disagree (avoid notes are a little subjective)
but have put the note in brackets above nevertheless.)
Having learned the chords & melody (Step 1 above), practiced playing arpeggios over the chord
progression (Step 2 above), and completed my chord mapping, I then go through the following steps:
Common Scales
A common scale is a scale which you can use over all or most of the chord progression, regardless of
the key changes.
To nd a common scale, write out all keys and related scales in the chord progression and look for
common notes:
C Major = C D E F G A B
D Major = D E F# G A B C#
G Major = G A B C D E F#
G♭ Major = G♭ A♭ B♭ C♭ D♭ E♭ F
Dm7 = D F A C
G7 = G B D F
Em7 = E G B D
A7 = A C# E G
Am7 = A C E G
D7 = D F# A C
CMaj7 = C E G B – G Blues doesn’t t over the CMaj7 chord.
Playing over this entire chord progression (Section A of Satin Doll) using either E Blues, A Blues or G
Blues will sound good, because these particular scales t the keys and the chords rather well. And so
we have found 3 simple common scales which t over the entire chord progression. So even though
this chord progression changes key a few times, you almost don’t have to worry about that, and you
can just keep on playing your common scale. Finally, you can also mix all three common scales
however you like to create a more interesting and complex sounding improvisation that is
conceptually very simple.
Base Scale
You can use any one of these scales as your ‘base scale’. By this, I mean that you can use say, G
Major Pentatonic as your ‘inside’ scale. You can pivot back and forth between improvisation
techniques and that ‘base scale’. So every time you want to resolve tension, you can return back to
the G Major Pentatonic scale. For example, you could:
This is an easy way to resolve tension and gives you thinking time before your next phrase. As I said
in the previous lesson: After exploring, always return back to base.
Adding Complexity
Having done some Chord Mapping and found some Common Scales, you can now already create
a relatively complex sounding (but conceptually simple) improvisation. And you use this as your
foundation upon which you build even further complexity by (as I listed at the beginning of this
lesson):
And Jazz Chord Voicings are the topic of our next module.
Planning Your Improvisation - Chord Mapping and Common Scales
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