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Woodshedding - Learning to Play!
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http://scalematcher.adamspiers.org/This little web application automatically finds scales which match a given chord - in other words, it searches through a large catalogue of known scales and displays all the scales which contain all the notes in the given chord. Once it's found all the matching scales, it automatically calculates the fewest notes within each scale which uniquely identify that scale amongst all the others, and shows those notes in red. That means that if your improvisation emphasises those notes, it should bring out the character of that particular scale.
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Woodshedding - Learning to Play!
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Joined: May 2000
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That won't always "bring out the character of the scale" but it will bring out the chord.
And, don't think you have all possibilities available from such either.
There are the two Pentatonics, Altered Scales, Bebop Scales, etc. that may change notes from what's in the chord itself, like the b5, #5, b9 and #9.
But this could be a good starting place for those wishing to learn such.
Just don't make it the place where you stop...
--Mac
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Woodshedding - Learning to Play!
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Joined: Oct 2009
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Hi guys, I'm the creator of that website. That won't always "bring out the character of the scale" but it will bring out the chord. I'm not sure but it sounds like you're not fully understanding the point of the red notes. Every matching scale displayed contains the notes in the chord. So every matching scale will bring out the chord. However, if you improvise with only one of the matched scales, and make sure to use the red notes in your improvisation, then you will uniquely identify the sound of that particular scale in your improvisation, because that combination of red notes is not included in any of the other matching scales. Therefore you are indeed bringing out the character of that scale. This adds extra flavour to your improvisation. For example, if you want to play over a C major 7 chord which includes a G, playing D and F# uniquely identifies the lydian scale, whereas playing D# and F# uniquely identifies the 6th degree of E harmonic minor: http://goo.gl/hY9WDaThey only differ by a single accidental but have extremely different sounds. Lydian is a very popular choice, whereas the latter is so "out" due to the inclusion of what is effectively a minor 3rd in a major chord that many people would probably argue that it's not a good choice. However it's still a creative choice and any note can work when exercised in the right way. http://www.bryanjudkins.com/post/149429495/there-are-no-wrong-notes-in-jazz-only-notes-inA less contentious example would be including D and Ab in your improv over C major 7, because this is simply the harmonic major. And again it has a very different flavour to lydian. And, don't think you have all possibilities available from such either. True, but it covers far more possibilities than what most musicians will normally consider. There are the two Pentatonics, Altered Scales, Bebop Scales, etc. that may change notes from what's in the chord itself, like the b5, #5, b9 and #9. If you look more closely at the site, you will see that altered scales are included in matches, and that I explicitly explain in the FAQ why pentatonics and the bebop scales are excluded. But this could be a good starting place for those wishing to learn such.
Just don't make it the place where you stop...
Agreed! In improvisation there are no definitive answers or places to stop, it's a lifelong journey and that's the beauty of it ;-)
Last edited by Adam Spiers; 02/23/14 04:25 AM.
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Woodshedding - Learning to Play!
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Joined: May 2000
Posts: 38,502
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Adam, sometimes the print media doesn't convey the full meaning of a post and it is rather easy to jump to conclusions.
My campaign, if you will, is ultimately involved with emphasizing the melodic as versus just playing the right notes, so to speak.
Years of improvisation and teaching same behind that remark.
b5, #5, b9, #9 are often interpreted as being enharmonic when the beginner is confronted with tables, charts or other means of displaying "right notes" and while some do teach this as a "starting point" it has been my experience that too many take it to be the endpoint as well, which often leads to the kind of soloing that, while it may not include any so-called "wrong" notes - leaves much to be desired in the way of soling that "speaks" to the human language and thus conveys so much more. Ditto for some of the more interesting substitutions.
The important part to my way of thinking is, of course, to first learn and practice the modes and other drills as a way of gaining access to the "alphabet" or perhaps the "vocabulary" of the thing, no question, and if someone does that, and only that, well, the kind of soloing I've heard from that over the years just does not "speak" with that deeper sense of meaning.
That goes double or triple for the guitar player with the pop/rock background who is now endeavoring to enter into the field of jazz musics.
Far to easy to end up just runnin' scales and arpeggios without attention to the musical phrasing issue, the very imoortant construction of "sentences" or even good musical "phrases" - not picking on the guitar players, as I play guitar as well as keyboards and trumpet, just trying to add my two cents worth in an effort to improve or at least help improve, what I hear all too often out there.
This is one reason why I teach students of jazz guitar improvisation to transcribe the work of horn players. Horn players have to phrase around taking a breath ("chain-stoking" circular breathing exhibitions notwithstanding) rather than the endless - and often pointless - running of scales, eh?
I do think that you already know this.
--Mac
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