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In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest. [6]
In jazz improvisation, outside playing describes approaches where one plays over a scale, mode or chord that is harmonically distant from the given chord. There are several common techniques to playing outside, that include side-stepping or side-slipping, superimposition of Coltrane changes , [ 1 ] and polytonality .
For example, if a musician comes across a C7 chord in a tune, the mode to play over this chord is a C mixolydian scale. These are various chord derivations that help musicians know which chord is associated with a certain scale or mode: C7 → C mixolydian; C-7 → C dorian; Cmaj7 → C Ionian (natural major) Cmaj7 ♯ 11 → C Lydian mode ...
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
The A harmonic minor scale can be used on the chords of a piece in A minor, especially on the minor ii–V–i chord progression. One of the most common uses of the harmonic minor scale is its fifth mode (phrygian dominant scale), which is a frequently used over dominant chords.
2- 5 1 means a minor 2 chord for two beats, then a 5 chord for two beats, then a 1 chord for four beats. If the measure is not evenly divided, beats can be indicated by dots or hash marks over the chord numbers. Three dots over a given chord would tell the musician to play that chord for three beats. Alternatively, rhythmic notation can be used.
In contemporary jazz, the Phrygian mode is used over chords and sonorities built on the mode, such as the sus4(♭ 9) chord (see Suspended chord), which is sometimes called a Phrygian suspended chord. For example, a soloist might play an E Phrygian over an Esus4(♭ 9) chord (E–A–B–D–F).
[1] For example, the G 7 chord and A ♭ jazz minor scale: the A ♭ scale contains the root, third, seventh, and the four most common alterations of G 7. This scale may be used to resolve to C in the progression G 7 –C (over G 7, which need not be notated G 7 ♭ 5 ♯ 5 ♭ 9 ♯ 9). [1]