Hey guys, Willie Myette, creator of jazz edge. Welcome to the confident improviser podcast. This is episode number 43. And today we are talking about advanced improvisation
using quartiles over our dominant seventh chords
. So what I was just playing was an example of how we can utilize these quartiles in our playing. So let's dive into what exactly a chordal is. So basically all the chordal is it is a stacked fourth. So if I started in the notes C, and I go up a perfect fourth to F, and I go up a perfect fourth, the B flat, that is my chordal. Right. Some people might call them fourth voicings, some people might call them fourths, I call them quartiles, right? So you might hear it, different terminology, depending on the player. So basically, all it is, is to stacked perfect fourths on top of one another. So C, F, F to B flat, right, and then from there, we can just move up by half steps, C sharp, F sharp, B, D, G, C, E flat, A flat, D flat, and so on and so forth. All the way up. keyboard. Now, there are only 12 of them, because they are start on each chromatic notes. Alright, there's only 12 chromatic notes. All right. So now when I'm thinking about forming the chordal, I think most often bottom up. So here, this is starting on C. So like, if the chord was a C seven chord, I would be thinking about starting the chordal on the root, C, right? If I build the chordal, on D, I'm thinking building it on the ninth. Again, speaking about a C seven chord from building it on E, that's a third of the chord, I would consider building it on the third. So always, I think bottom up versus top down. It really depends on what makes most sense to you. If you want to think, okay, top down is easier for you fine, I personally think bottom up is a little bit easier. Alright, so anyway, those your record, right, so now, something to understand is that when we are playing our C dominant seventh chord, let's just play a simple root three, seven, in the left hand here, so C, D, and D flat. So when I'm playing these quarters in the right hand, each of the notes of the chord is going to function on that dominant seventh chord in a certain way, right? When I say function, I mean, is it going to be the root of the chord, the third, the fifth, or is it going to be some kind of attention, let's take the first quarter here built on C, well, the C is the root, F is the 11th. B flat is the flat seven. So immediately, immediately right off the bat, maybe that that 11th, there is going to be a little bit too tense. When I go on to the next one, C sharp is flat nine, F sharp is sharp, 11, b is your major seven. Again. So let's meaning to say that not every chordal is going to sound great on the dominant seventh chord. But here's the rub. And this is what's really important. As long as you're not playing, you know that chordal along with the C Dominant chord in the left hand, it's going to sound fine if I did this for improvisation
. That's if I did something like that. So you see, I'm starting on C, F, D flat, C sharp, F sharp, B, and then I resolve it to the C. Now obviously, listen to what happens if I resolve it on B natural, right? Right, that sounds a little a little too tense there. Okay. So the tension that is created by the corals, you need to resolve it. Now the beauty is that many of the corals resolved quite nicely on a dominant seventh chord. Let's go through the ones that really work well. Building on the nine works great. Building on the sharp nine works great. Building on the third works great on the 11th and not so much. On the sharp four, not so much. On the fifth, not so much on the flat 13. works great on the 13th works great as well. On the flat seven sure you could do that as well. On the major seventh, obviously not so great, right? So the nine sharp 9/3 Right, that's great. 13, flat seven, that's great. And then also you could do flat 13 as well. Right? The ones I really liked, if you want the ones that are going to sound nice with the dominant chord and not going to sound too tense building on the ninth, third, building on the 13th Okay, if you want the ones that a little bit more 10 one sharp nine, that's really good. The Flat 13 Flat seven. Alright, so now take a listen to this. Here I have this sample lick here, right and what I'm doing here I'm starting on the ninth of the chord. So I'm thinking of this right here.
This is one chordal. Right? Here's another chordal. And then here's your last quarter, and in this resolves down to the fifth, right, so I'll take a listen to what happens when I play this. Let's see if I'm able to get over here and play this with the band here. Alright, and what I'm going to do is, this is on a funk, right, now I'm going to put it on medium swing, okay. And this will be at 120 beats per minute, and see what that sounds like.
So a great sound, how the reason you use this sound is not only do you get that advanced kind of outside playing, but since it's built in fourths, like that, the sound sounds very kind of symmetrical, it's always moving by a fourth, the fourth, the fourth, except for when you're down a half step down a half step, right. But those fourth give you that nice open modern sound, right. So again, the notes here, if you happen to be listening, it's in the left hand, I'm playing my C seven chord voicing just to my basic rootless chord voice and E, A, B flat, and D. In the right hand, I'm building a portal on the E, a quarter on E flat and a quarter on the D. I'm starting with my pinky. So it's the A, C sharp, G sharp, E flat that I slide down on my thumb, D, G, C,
G. Write really, really, really neat sound. Okay, so again, let's play it with the band moving down so you see Hi, I kind of I can move down and it's a great exercise. One thing I like to practice is just kind of moving down those portals like that, and really kind of getting that underneath my fingertips nice and loose. Right, so if you're looking for a nice exercise to practice, that would be good. Alright, so let's move on to exercise or example number two rather. Right? Oh, sorry. That's it. So here, you can see that the chordal is kind of built in here it's baked in. Right, but you'll notice that the rhythm changes the the rhythm of the coral is changing in the middle of the coral. So I start with an eighth note. And then the the C which is the second note of the coral is the first of a triplet of an eighth note triplet, right, so it's eighth note, triplet. And I'm getting this nice little half step approach right in here, right, so that half step approach to E flat up to the E natural, right, so the notes here, G C, F, D sharp or E flat, however you want to think about it, and then going up to the E natural and then to the C.
So again, it's that real nice, open sound. It's a great springboard for your improvisation
. Let's bump this up a little bit. Let's go to 164 tempo oops
so you can hear how I'm bringing those quarters in and a cool really great Create a super hips out. So let's slow this down again, we'll go back to 100 played a couple times just to make sure you got it
so again, these are things that you can bring into your improvisation
you don't have to use quarrels throughout your entire improvisation
, but it's just a great way of creating some advanced sounds here with his own.
Trip the body resolving down to the flat seven here, the very end. So it's C, G, D. So there's your coral built on a night trip. And I come up to the F, I actually, you know, I'm playing this as an F sharp, I kind of like a better as the F sharp, you can do this to G sharp, let me do this a G sharp
Whoops. I wrote in G sharp but I naturally played F sharp cuz I knew that that would sound good. So you can kind of do either one, right? So here's the with the F sharp, Bob trip. Kind of like that sharp 11 sound. So that example would be C, G, D, F sharp, and then A, G, E, C, B flat, or the example that's written here, C, G, D, G sharp, A, G, C, B flat
so you can pick whichever one you like. Okay, alright, so now we can do is, let me make this a little bit smaller
I said I want to play all three of them back to back. Okay, here we go. That's what the F sharp is with the G sharp going back home again, number 123.
Number three again
three four. All All right, again, corals. That is the sound that we're dealing with here today. Are these different corals. Okay, so, if you like what you're listening to you can also watch this lesson as well. If you go back to my YouTube channel, just do a search for the word jazz edge or just go to youtube.com/jazzedgeandandyouwillbeabletogetrighttomychannelalsobesuretocheckoutmydailydoseofjazzpianoontheinternetjazzpianodaily.comjazzpianodaily.comyoucangoaheadrightbackthereyoucangetabunchofsheetmusicgetabunchoflessonsrightsocheckoutjazzpianodaily.comandialsohaveabunchofthoselessonsonyoutubeaswellsoanywayguysthankyousomuchforjoiningmeandiwillseeyouguysinthenextpodcastepisode