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    Lesson 10 - Right Hand Patterns - Part 1

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    AB IV
    The document provides ideas and patterns for creating melodies and improvising over jazz progressions. It discusses treating improvisation like a conversation by varying elements like speed, volume, pitch and emotion over different chord changes. Specific patterns are then presented using chord tones, scales and triads to demonstrate this approach.

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    Lesson 10 - Right Hand Patterns - Part 1

    Uploaded by

    AB IV
    15 views2 pages
    The document provides ideas and patterns for creating melodies and improvising over jazz progressions. It discusses treating improvisation like a conversation by varying elements like speed, volume, pitch and emotion over different chord changes. Specific patterns are then presented using chord tones, scales and triads to demonstrate this approach.

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    23. Lesson 10 - Right hand patterns - part 1

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    The document provides ideas and patterns for creating melodies and improvising over jazz progressions. It discusses treating improvisation like a conversation by varying elements like speed, volume, pitch and emotion over different chord changes. Specific patterns are then presented using chord tones, scales and triads to demonstrate this approach.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    15 views2 pages

    Lesson 10 - Right Hand Patterns - Part 1

    Uploaded by

    AB IV
    The document provides ideas and patterns for creating melodies and improvising over jazz progressions. It discusses treating improvisation like a conversation by varying elements like speed, volume, pitch and emotion over different chord changes. Specific patterns are then presented using chord tones, scales and triads to demonstrate this approach.

    Copyright:

    © All Rights Reserved
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    of 2

    CATERPILLAR JAZZ TALK

    HOW TO CREATE MELODIES - the language of Jazz and Blues

    Most song melodies are based on WORDS and SENTENCES. Songwriters


    rarely write a melody and then add words to it later, they usually start with a
    mixture of lyrics, chords and melody.

    A melody or an improvisation is like a CONVERSATION - listen to people talking


    - you could almost hear it like a song.

    “Hi Joan, how are you” (fast and upbeat)


    “HENRY - I never thought I’d see you again!! (shocked, loud, snappy)
    “I’ve been unwell” (sombre, slower)
    “I’m sorry to hear that” (sympathetic)
    “I’m ok now” (more upbeat again)
    “That’s great, how’s the kids’ (optimistic)
    “DIDN’T YOU HEAR” (tension)
    “WHAT?” (worried)
    etc

    Can you see the variety contained in even a short conversation. The different
    lengths, different volumes, different speeds, different pitches - you might hear a
    woman with a high voice and a man with a low voice, the tension, release,
    excitement, anger, boredom, sadness, joy, some people talk too much, some
    just grunt words

    Use these ideas when you are creating melodies or improvising. Don’t just play
    random notes. Do you TALK randomly? Ask questions in one phrase and reply
    in the next phrase.

    To begin with stick closely to the CHORD TONES to form your phrases. So if you
    are playing Em7 chord in the left hand play around with the same chord tones in
    your right hand adding the odd ‘in-between’ note to liven it up. As you progress
    you can be more daring but work up to that.

    Try playing the CATERPILLAR JAZZ WALK again and create a


    CONVERSATION with your RIGHT hand notes. Play it nice and slow.
    THINK about what you are doing, IMAGINE two people talking, it could
    be two lovers, or an argument, or just someone talking to themselves about
    a lost love or a past regret.

    There are ideas to help you on the next few pages


    6-19
    CATERPILLAR JAZZ TALK
    Ideas for Improvisation
    The following are a series of right hand melodic patterns that you can play
    with the caterpillar chords.

    PATTERN 1. Root - 2nd - 3rd


    This is a simple riff. On each chord change play the root note then the 2nd and third

    SMOOTH
    C D E F G A B C D E F G A B C D E F G A B C

    1 2 3 1 2 3
    Cmaj7 Fmaj7 Bdim Em7 Am7 Dm7 G7 Cmaj7

    SWING

    PATTERN 2. USING THE C MAJOR SCALE (downwards)


    Notice how certain notes of the scale actually correspond to the
    root note of the chord change. SMOOTH

    C B A G F E D C B A G F E A G F E D C B A G F E D C

    5 4 3 2 1 3 2 1 4 3 2 1 2
    Cmaj7 Fmaj7 Bdim Em7 Am7 Dm7 G7 Cmaj7

    SWING

    PATTERN 3. TRIADS
    Only use the basic (3 note) chord notes in the right hand (leave out the 7th)
    Move from root position to backwards inversion. SMOOTH

    C EG E F C A C B D F D E B G B A C E A D A F A G B D B C

    1 3 5 3 4 2 1 2
    Cmaj7 Fmaj7 Bdim Em7 Am7 Dm7 G7 Cmaj7

    SWING

    6-20

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