Welcome back to the Joe Pass Series of Jazz Supplements! Todays line is a great line that works over a Major 7th chord. In this example its a C Maj. 7th chord. Joe would ofter use a raised 4th in his lines over Maj.7th chords as shown in this example.
Starting This week I am going to start an ongoing series. Every 4 weeks I will feature a new jazz artist. We will be looking primarily at their improvisation style. So if you have a requested musician please let me know! The next 4 weeks will be dedicated to the playing style of Joe Pass. Each week I will bring you 5 episodes with new licks, phrases or lines. They will either be a direct transcription or in the style of Joe Pass.
In this episode of Jazz Supplement’s we will learn a E7#5#9/b9 lick. This can be used over any 7#5#9 chord. Or even just a #9/b9 chord. Use your ear and find new applications for this sound. And of course… Have fun!
In todays podcast I talk briefly about the dual possibilities of minor licks in music. And give you a new line that works over -7 chords as well as dominant seventh chords who’s roots are a 5th away from the minor chord. For example: B-7 to E7.
Todays Jazz Supplement is a line that works over dominant minor 7th chord’s (note that minor seventh licks can also be used over the dominant chord a 5th down… more on that later). This line is in the style of Joe Pass. Enjoy! And Make sure you flip it upside down and sideways!
*In this episode I do an analysis of the line as it applies harmonically to a Cm7 chord. I will not always offer this in these mini lessons.
Jazz Supplement will bring you a new line lick or phrase every week. The idea is that you will take each line and play it in every direction in every key. Fully integrating it into your playing, thus making it a part of your jazz language. These are audio only. The reason I am providing no notation is that jazz is an aural art. And should be learned as such. Take each episode and transcribe it by ear! It’ll be fun, possibly frustrating and most certainly rewarding! Enjoy :-)
I am very excited to announce that my newest album is now available for digital download! This is the first album that Nastassia, my beautiful wife, and I have collaborated! I have long desired to collaborate and produce an attractive, and enjoyable collection of this unique artistic blend of guitar and vocals. We chose the jazzy harmonious sounds of the 1930s for it’s remarkable individualized expression of song, as well as other great tunes with our own interpretations. It is our hope that we captured the life and fervency of this one-of-a-kind music, and that it continues to live on.
You can check it out Here
Or on iTunes
Many thanks to Neal Fitzpatrick for taking the time to write this wonderful piece on my composition. Which he took part in performing!
“I had the great fortune of being part of a trio that premiered a new work for guitar, vibraphone and flute by the composer Nathaniel Moore. The work was one of three winning works commissioned by Dr. S. Beth May and the music department at Northwest Vista College in San Antonio, TX. The work is titled “Unbidden Shadows of The Unintended”. Nathaniel wrote this as undergraduate student but the work showed a maturity in compositional technique and musical knowledge far beyond his undergrad status. The first section is modern in feel but at the same time is a classic introduction, drawing both the performer and audience into the experience with strong motifs. The middle section is followed by a very rhythmic, syncopated section and acts as great contrast to the introduction. There is a hint of the introduction before the work takes us to the lento final section, a section I can only describe as exquisite. The play between the three instruments is perfectly balanced and the attention to the interplay, voicing, volume, and timbre shows advanced skill in chamber music composition. I am one of those musicians who feel it is important for the composer to take into the consideration for what instruments they are composing.I reject the modern notion held by some composers that the instruments don’t count and that the music itself is supreme. I believe one must consider the medium when composing. This is a challenge that Nathaniel met head on with great success. There were no “lost” or “buried” notes. All the notes count rhythmically and aurally.
Since we are well under way into the 21sst century it is not surprising that SHADOWS (original chamber ensemble piece by Mr. Moore) does reflect modern times. The piece at times has the energy and language of rock music as well as the timbre and space of what one might call ambient music. It is firmly in the tradition of western music composition but is undeniably a work whose ink is still not quite dry.
…SHADOWS OF THE UNINTENDED is a first rate chamber music work and one I highly recommend for any guitarist looking for a fine chamber music experience.” – Neal Fitzpatrick, Classical Guitarist and Yale Graduate. “
To be excellent in everything you do is to live a life of fulfillment. That, whatever your occupation may be; you do it to the best of your abilities.
Today I would like to pick up were I left off with the ii – V – i progression. Last time I discussed possible substitutions for the ii7b5 and the V7. These are substitutions in minor keys or brief modulation to minor keys.
If the root of the i chord is omitted; a substitute for i which has complete plurality is revealed. The bIIIMaj7 chord.
Original: ii – V – i
Progression with substitution: ii – V – bIIIMaj7