AP 703 Gospel Jazz Improvisation Lesson 1

AP
703 Gospel Jazz Improvisation Lesson 1
Welcome to AP 703 Gospel Jazz Improvisation!

Improvisation is what everyone wants to learn to do. Everyone wants to learn how to solo and do fills and runs that
sound cool, right? The cool part about it is that it is actually pretty simply once you learn the tricks. This course is
going to teach you the “magic scales and tricks” that will teach you to improv.

First of all, let me say that improvisation is scenariospecific. You will probably not use the same fill or run in church
on Sunday morning that you may use while you are jamming with your friends. Not that it is a bad or even “worldly”
fill or run, but improvisation has to be done “tastefully.”

If our playing is so full of fills and runs that it is distracting to the hearers and not taking them to a place or worship or
praise, we may want to reevaluate our playing. Remember, our playing should be worship to God, giving him the
glory that He deserves (not us).

So with this little introduction, let’s get started!

The NUMBER ONE most important thing to know to do improvisation is the MAJOR SCALE.

If we can’t solo with the major scale, then we can’t solo!

Soloing is all about taking notes and making rhythmic and melodic phrases out of those notes, depending on what
chord we are on.

Therefore, we also have to know WHAT SCALE TO USE.

Therefore, we must know, WHAT KEY we are playing in, but even this is not enough as certain chords will change
and we will have to change the scale to match the chord we are on.

However, in most songs and on most chords, we will be using the Major Scale or a Mode derived from it (more
about this to come).

So let’s make sure we know our MAJOR SCALES!

Now, if you are like most, you KNOW the notes in the major scale, but you cannot use the scale in a rapid
ascending or descending run.

Also, almost anybody can play the major scale over one octave, however most cannot play it over two.

If you cannot already, I would advise practicing each Major Scale over two octaves both ASCENDING &
DESCENDING.

Once you have mastered this, practice playing it with a corresponding MAJOR 9th chord in your Left Hand. For
instance, hit the Cmaj9 in your left hand with the first C note in your right hand as you begin playing the major
scale over two octaves.

www.ApostolicPraiseSchoolofMusic.com
::
www.ApostolicPSOM.com
:: Apostolic Praise©: Richard W. Smith
AP 703 Gospel Jazz Improvisation Lesson 1
Then go to F and do the same thing.

NEXT, once you have mastered this, practice playing the root note (a C note for instance) in your Left Hand
together with the C note in your Right Hand as you begin playing the major scale up. Then play the Cmaj9 in Left
Hand as your right hand hits the G note in your Right Hand. (See the diagram below or on the next page). Then
play the root note again (C) as your Right Hand hits the second D note. Then play the Chord again as your Right
Hand hits the A note.

This will not only teach you how to fill in with your Right Hand, as your Left Hand is doing chords, it will help
you learn how to play the major scale as a fill.

Root Chord Root Chord
C C D E F G A B C D E F G A B C
finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
ing

CHEAT SHEET FOR MAJOR SCALES

Root Chord Root Chord
C C D E F G A B C D E F G A B C
finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
ing
F F G A Bb C D E F G A Bb C D E F
finger 1 2 3 4 1 2 3 1 2 3 4 1 2 3 4
ing
Bb Bb C D Eb F G A Bb C D Eb F G A Bb
finger 2 1 2 3 1 2 3 4 1 2 3 1 2 3 4
ing
Eb Eb F G Ab Bb C D Eb F G Ab Bb C D Eb
finger 2 1 2 3 4 1 2 3 1 2 3 4 1 2 3
ing
Ab Ab Bb C Db Eb F G Ab Bb C Db Eb F G Ab
finger 2 3 1 2 3 1 2 3 4 1 2 3 1 2 3
ing
Db Db Eb F Gb Ab Bb C Db Eb F Gb Ab Bb C Db
finger 2 3 1 2 3 4 1 2 3 1 2 3 4 1 2
ing
::
Gb Gb Ab Bb B Db Eb F Gb Ab Bb B Db Eb F Gb
finger 2 3 4 1 2 3 4 2 3 4 1 2 3 4 5
ing
B B C# D# E F# G# A# B C# D# E F# G# A# B
finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
ing
E E F# G# A B C# D# E F# G# A B C# D# E
finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
ing
A A B C# D E F# G# A B C# D E F# G# A
finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
ing
D D E F# G A B C# D E F# G A B C# D
finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
ing
G G A B C D E F# G A B C D E F# G
finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5
ing

Now let’s take these scales and have some fun with them. We’ll start with some really basic stuff.
Most scales are derived from the major scale, but we are going to try to stick to just major scale stuff here.

Try playing these fills with different rhythms and in different tempos.
We recommend watching the video that goes with this lesson to hear and get the “feel” for the different fills played
here!

These fills sound better if you play a Cmaj7 (CEGB) or Cmaj9 (EGBD) in the left hand, especially if you alternative
between two measures of Cmaj9 and then two measures of Fmaj9.

EXERCISE SONG: Cmaj9 / / / Cmaj9 / / / Fmaj9 / / / Fmaj9 / / /

Example Fill #1: C D E F G

Example Fill #2: GABCD

Example Fill #3: A B C

Example Fill #4: A B C D E

Example Fill #5: D E F

Example Fill #6: AGFED
::

Example Fill #7: Descending alternating notes (CABGAFGEFDECDB, REPEAT)
Play this fill going down in the right hand starting high on the piano. You can also play it ascending.

Example Fill #7: Ascending sixth notes (ECFDGEAFBGCADB, REPEAT)
Play these in groups of two notes going up the piano. You can also play them descending.

Example Fill #8: Ascending Ditones (CEDFEGFAGBACBD, REPEAT)
You can play these going up the piano. Try them going down too!

Example Fill #9: Ascending Fourths (GCADBECFDGEAFB, REPEAT)

Example Fill #10 Ascending Fourth Notes (GCADBECFDGEAFB, REPEAT)

BE SURE TO PRACTICE THESE FILLS AND RUNS IN EVERY KEY!
I like to use the CIRCLE of 4ths to do this. CFBbEbAbDbGbBEADG

EXERCISE SONGS:

C / / / C / / / F / / / F / / /

G / / / G / / / F / / / F / / / C

EXERCISE SONGS:

C / / / Am / / / F / / / G / / /

C / / / Am / / / F / / / G / / / C

EXERCISE SONGS:

Cmaj9 / / / Cmaj9 / / / Fmaj9 / / / Fmaj9 / / /

Dm9 / / / Dm9 / / / G2 / / / G2 / / /

Now let’s go to the next page and practice some REAL church songs using these concepts.

Remember, you can use the major scale (or the notes of it) of whatever key the song is in over ALMOST every
chord as a fill or run. There are exceptions to this rule however! If the chord has notes in it that are NOT found
naturally in the major scale, this will not work.

You will have to adjust your scale, OR wait until we go over the different scales in the upcoming lessons!

::

C Anointing
Em7 / Am9 / Dm7 / G2 / Em7 / Am9 / Dm7 / G2 /
Anoin ting fall on me a noin ting fall on me,

Gm9 / C9 / Fmaj7 / Bb9 Bb9/Ab C/G A7b9 Dm7 G2 C / F/G /
Let the power of the Holy Ghost fall on me anoin ting fall on me.

F Falling In Love With Jesus
F2 / / / Eb2/F / F2 / Bbmaj9 / F2/A / Gm9 / C2 C#dim7
Falling in love with Je sus, falling in love with Jesus,

Dm9 / / / Eb2/F / F2 / Bb2 / Bb2/C / F2 / Bb2/D C2/E
Falling in love with Je sus was the best thing I’ve ever, ever done.

V1: F2 / / / Eb2/F / F2 / Bbmaj9 / F2/A / Gm9 / C2 C#dim7
In His arms I feel protected, in His arms never disconnected,

Dm9 / / / Eb2/F / F2 / Bb2 / Bb2/C / F2 / Bb2/D C2/E
In His arms I feel protected, there’s no place I’d rather, rather be.

A Break Every Chain (Tasha Cobbs)
Intro: F#m7 / D2 / A2 / E2 /

Ch F#m7 / D2 / A2 / E2 /
There is power in the name of Jesus (3x)
F#m7 A2 D2 F#m7 A2 / E2 /
To break every chain, break every chain, break every chain (2x)

V1
F#m7 / D2 / A2 / E2 /
There's an army rising up (3x)
F#m7 A2 D2 F#m7 A2 / E2 /
To break every chain, break every chain, break every chain (2x)

Music: F
#m7 A2 D2 F#m7 A2 / E2 / F#m7 A2 D2 F#m7 A2 / E2 /

Br F#m7 A2 D2 F#m7 A2 / E2 /
I hear the chains fal ling (2x)
::

AP 703 Gospel Jazz Improvisation Lesson 1

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