Tritone Substitution and The Minor Blues Improvisation || Jazz Guitar Lessons Daily 33

From our free, Jazz Guitar Lessons Daily Series: Lesson 33
Wednesdays - ii V Is and Tunes
2/24/21
Adding a tension #4 note to a major triad is one of my favorite quadratonics. If you haven’t explored this sound yet, I strongly recommend checking out our lesson #32 on ear training this note using emotion and body movements before trying today’s lesson, as trying to play anything without first getting the sound in your ear is futile.

Once you can hear the emotion and the energy of that tension #4, now we can practice using it in an improvised way.

One of my favorite melodic uses for this quadratonic is to treat it as a tritone substitution to setup important chords and moments in a form. In other words, if I want to land on particular chord melodically in a big way, I will play the major triad + tension #4 a half step, or semitone, above it first… and then resolve down into the target chord.

As an example, if I want to really accentuate the movement to an Fmin7 chord when I’m improvising, one to two measures before the band hits the Fmin7 chord, I’m going to think up a half step and play around with a (Gb) / #4 quadratonic. That’s a Gb major triad with a C natural note added for it’s emotion and melodic color. After playing some type of phrase within this melodic structure, THEN I will resolve it down to the Fmin7 chord as the band play it.

I can do this even when the band isn’t playing a Gb chord along with me. It doesn’t matter. They could be playing something completely different and “wrong” compared to the Gb major triad… it can still work. Why? Because the entire point is to create some type of tension moving to some type of resolution. The quadratonic I’m playing has tension because of the #4. My line has tension because I’m implying the sound of the tritone sub… the bII7. So we’re hearing harmonic tension and resolution. Then there may be additional tension and resolution because I, as the soloist, may be playing something different from, and clashing with, what the bass player and comping instrument are doing. But because it’s all moving forward through time and form, and because we’re all headed to the next chord, it can still work out.

Try applying this idea to the 12 bar minor blues. There are only a few chords in the entire form and a lot of empty, non-moving space, so it’s a perfect form to start testing this out. Checkout the breakdown of how, when, and why I’m applying which triads throughout the form that I offer in the video. And make sure to download the PDF so you can see how it’s notated to help you move through the tune.

Even though it’s only a 12 measure chord progression, you might need to break down the form into smaller segments and slow down to really focus on getting your ears, eyes, fingers, and mind working together to hit these quadratonics and make...
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Видео Tritone Substitution and The Minor Blues Improvisation || Jazz Guitar Lessons Daily 33 канала Jordan Klemons - Jazz Guitar