Audio 1.8   Audio 1.9 First practise this new technique very slowly with the metronome. (Down - Up - Top) DG 1.7 - Practice in Triplet Quavers There is one final and most important aspect of digital pattern practice. A digital pattern is a combination of 2, 3, 4 or more relative note positions (described in numbers) which is progressively repeated up or down a specific scale. And so on. This aspect is illustrated on the Diagram shown below. (Down - Up - Top) DG 1.7 - Practice in Triplet Quavers There is one final and most important aspect of digital pattern practice. The next scale pattern is based on the left vs. right nature of any pentatonic scale … Tag Archives: digital patterns jazz Coltrane Patterns -Why They Are Amazing. Within a single octave range, using a digital pattern : To take full advantage of the above considerations we should look for suitable 2 bar opportunities in songs to use digital pattern runs. By ignoring this and stumbling on, you are learning absolutely nothing !! good jazz improvisation, this book focuses on a basic harmonic and melodic vocabulary. And with this your objective is changing, moving further ahead. Jazz and fusion guitarists—including Django Reinhardt, Joe Pass, Joe Diorio, John Scofield and Frank Gambale—employ a wide variety of arpeggio and sequence-triad patterns. Depending on our creative intention (or instinct) at any moment during play we can use any of these roads above. On the II-V-I backing tracks in the Play-along Library, each track contains two II-V-I segments, a perfect 5th apart. Audio 1.8   Audio 1.9 First practise this new technique very slowly with the metronome. Here is the notation for Pattern 1234 over the C major scale. There are two hugely important things you must do. Using an arpeggio (broken chord) we arrive one octave higher in half a bar. This constitutes ample material for meaningful practice. So far we have practised the 4-digit pattern in quavers and semiquavers. DG 1.3 - Practice in Semiquavers (sixteenth notes). On the II-V-I backing tracks in the Play-along Library, each track contains two II-V-I segments, a perfect 5th apart. Then start practising the same pattern but in semiquavers (sixteenth notes : 4 notes to each beat). I suggest you work on one single pattern at a time for two weeks (half a month), then go on to the next one. Audio 1.7 Once again start on different chord tones, playing patterns both up and down. Depending on our creative intention (or instinct) at any moment during play we can use any of these roads above. (Down - Up - Top) DG 1.6 - Practice with Modulations To create ever more musical interest one can select 2 bars with one chord modulating to another chord. You could practice these patterns … First a 4-bar II-V-I segment in one key is played for 4 times (16 bars total), then the next 4-bar II-V-I segment (a 5th down) plays also 4 times, then back to the first one again. Then watch where it takes you to. Correct fingerings When playing digital patterns always make sure to practise using the appropriate fingerings, suitable for high speed executions.For keyboard in general use the same fingering for a specific digital pattern throughout, regardless of the positions of the black keys. The worldwide leader in jazz improvisation educational materials for over 50 years! However I have selected six basic patterns which are simple but great both for developing good instrumental skills and to use in improvisation. Once you master all aspects presented in this lesson you have the ability to apply digital patterns in your improvisation at three different speeds. It's usually 2 or 4 notes. Minor 3rds Patterns … And where better will we find these than in the numerous IIm7 - V7 and IIm7 - V7 - IΔ segments present in virtually every song in the Jazz and Popular repertoire ? They teach us to correctly hear the harmony as well as giving melodic material. Here is pattern 1234 over the C Mixolydian mode, played in semiquavers over a single C7 chord backing track. In most cases it is only a difference of 1 or 2 flats (or sharps), and therefore not all that difficult, but of course you to practice this element.You can pick any two bars in any song for this, but the embellished blues is a good example and a great way to practise on. For example the Pattern 1234 over the C major scale progresses upwards like this : Practice of digital patterns over scales is enormously important for all instrumentalists, but especially for improvising musicians. Here is pattern 1234 played in triplet quavers over the C Mixolydian mode. And so on. Audio 1.5 Practice starting on different chord tones, both going up and down, and listen to the musical effect it produces. And with this your objective is changing, moving further ahead. And so on. To take full advantage of the above considerations we should look for suitable 2 bar opportunities in songs to use digital pattern runs. In other words the digital pattern and the rhythm used are synchronised.But what happen when the pattern and rhythm are mismatched ? Audio 1.3 (Down - Up - Top) DG 1.3 - Practice in Semiquavers (sixteenth notes) Once you are comfortable in playing a pattern in quavers (eighth notes : 2 notes to each beat), gradually increase the metronome tempo. While practising with a metronome your objective is to develop greater technical facility and fluency on your instrument.Therefore every single scale you work on should include practice of digital patterns. This constitutes ample material for meaningful practice. MAJOR CHORDS 1) Ionian (Major Scale) 2) … On the single chord backing tracks in the Play-along Library, each track contains two single chords, a perfect 5th apart. (Down - Up - Top) DG 1.8 - Practice Materials METRONOME Key Type Tempo Description A & D Major chords MM=75 - MM=100   Alternating A for 8 bars, then D for 8 bars A7 & D7 Dominant chords MM=75 - MM=100 Alternating A7 for 8 bars, then D7 for 8 bars Am & Dm Minor chords MM=75 - MM=100 Alternating Amin for 8 bars, then Dmin for 8 bars A & D IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Bm7-E7-AΔ , then 16 bars Em7-A7-DΔ G & C Major chords MM=70 - MM=100 Alternating G for 8 bars, then C for 8 bars G7 & C7 Dominant chords MM=75 - MM=100 Alternating G7 for 8 bars, then C7 for 8 bars Gm & Cm Minor chords MM=75 - MM=100 Alternating Gmin for 8 bars, then Cmin for 8 bars G & C IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Am7-D7-GΔ , then 16 bars Dm7-G7-CΔ F & Bb Major chords MM=75 - MM=100 Alternating F for 8 bars, then Bb for 8 bars F7 & Bb7 Dominant chords MM=75 - MM=100 Alternating F7 for 8 bars, then Bb7 for 8 bars Fm & Bbm   Minor chords MM=75 - MM=100 Alternating Fmin for 8 bars, then Bbmin for 8 bars F & Bb IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Gm7-C7-FΔ , then 16 bars Cm7-F7-BbΔ Eb & Ab Major chords MM=75 - MM=100 Alternating Eb for 8 bars, then Ab for 8 bars Eb7 & Ab7 Dominant chords MM=75 - MM=100 Alternating Eb7 for 8 bars, then Ab7 for 8 bars Ebm & Abm   Minor chords MM=75 - MM=100 Alternating Ebmin for 8 bars, then Abmin for 8 bars Eb & Ab IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Fm7-Bb7-EbΔ , then 16 bars Bbm7-Eb7-AbΔ G Embellished Blues   MM=75 - MM=100 C Embellished Blues MM=75 - MM=100 F Embellished Blues MM=75 - MM=100 Bb Embellished Blues MM=75 - MM=100 Eb Embellished Blues MM=75 - MM=100 Vertical correlation of Keys Concert Key A D G C F Bb Eb Ab Bb instruments B E A D G C F Bb Eb instruments F# B E A D G C F ( Up - Top - Impro Library) Copyright © 2007 Michael Furstner. ��|0��s�����o�~2�㧲���HS]���Y�躪�m�K?tU�m_>>���P:�~���d��xx*��`JS>�//��|������ے��V~���tS����o��;�N?�H��SW�6�q��V���~�����I8�wo� K���T4m�UCo˾a(}ߕO��f��ˡ�X~wE(�����/R���w���W����⩜�v�hl�&�` C3���0�f�� �����Vde1��Lk��HB��b�cA�3 � �w����mrQ��3 ��v�/Hh�& Q@%1�.Ȯ�u�W�eF�G1����m����2�j[�4w��U,C㪦�P�}e�F��LӠ6�mCQ�髶���]���2`�ۼz�%�����NZ��}U�F�m+X!��\50��L�R���np�[#ꎅi�j���6p� �͆�*3� hѪ��ΝゥZT�w`J�p�mpףO���i��F�d�ײ3p}ߔ���P������TLY?�l�!�� ����?�H��bW֔����M>�(?e([_k���ȑf��e���2X����~X��mV����\F�@ ��V�/E��w-P�+J��]ۮ��c�[��WA���1aV��cn�#��[4� q�B���]��f�ж[��[[�f���N��w��\��C�n!GcP\Ӌsw�o� ��qI�����ᚶ�����0:�n@���/��#�+���c�˶�I�8���V�ޣiu���p~X�ж@"�E3�bn[qq�[S3�bn[�XY{���R.�g�m��)�"zk�L��A���m�H�m�S�5�����Ж��lK(�R.�ض�]�ŮI5]�F��l�T�$���`�j 4&.��,��Nп�A��5C�)j�� xi�����N�C�z#�� ���G�e��C��`��7��R�m��@�� Fy�5��@g���u�(�C��3�,�����$,�?叴M�����i*&�a�jjs�����pUu8�m�kbi������6���6��8������/�m��om �:���ä�{. Practice over IIm7 - V7 - IΔs in several keys is therefore an essential element of digital pattern practice. Here is pattern 1234 over the C Mixolydian mode, played in semiquavers over a single C7 chord backing track. All of them of course have their merit.However the digital pattern stands out in three distinct ways. We can achieve this by playing a 4-digit pattern in triplet quavers. Jamey Aebersold Jazz® does not accept liability for incorrect spelling, printing errors (including prices), incorrect manufacturer's specifications, or grammatical inaccuracies in any product included in the Jamey Aebersold Jazz… Audio 1.8   Audio 1.9 First practise this new technique very slowly with the metronome. On the II-V-I backing tracks in the Play-along Library, each track contains two II-V-I segments, a perfect 5th apart. There are two hugely important things you must do. in quavers in triplet quavers in semiquavers Depending on both your skill level and the tempo of the song you should in most cases be able to use at least two of above tempos for digitals over any song. In most cases it is only a difference of 1 or 2 flats (or sharps), and therefore not all that difficult, but of course you to practice this element.You can pick any two bars in any song for this, but the embellished blues is a good example and a great way to practise on. Digital patterns are groups of notes usually numbering four to eight notes. So far we have practised the 4-digit pattern in quavers and semiquavers. Within a single octave range, using a digital pattern : We can play faster (more notes per beat) : creating great excitement We can sustain the run longer (2 bars +) : creating ever increasing musical tension In addition the relatively small pitch range required for digital runs is, from a practical point, especially welcome for instruments with a limited pitch range like flutes and saxophones. Always remember that music is a skill that you develop over time. in quavers in triplet quavers in semiquavers Depending on both your skill level and the tempo of the song you should in most cases be able to use at least two of above tempos for digitals over any song. The founders of Jazz music also didn’t have Jazz records to pull from to learn their licks. Audio 1.7 Once again start on different chord tones, playing patterns both up and down. This aspect is illustrated on the Diagram shown below. On the single chord backing tracks in the Play-along Library, each track contains two single chords, a perfect 5th apart. Then watch where it takes you to. It is therefore unlikely that you (at least initially) will choose to run a pattern through a scale with 5 flats or 5 sharps. Audio 1.1 Correct fingerings When playing digital patterns always make sure to practise using the appropriate fingerings, suitable for high speed executions.For keyboard in general use the same fingering for a specific digital pattern throughout, regardless of the positions of the black keys. Doing so suddenly produces a totally new perspective and sound scape. Audio 1.8   Audio 1.9 First practise this new technique very slowly with the metronome. DG 1.1 - General A digital pattern is a combination of 2, 3, 4 or more relative note positions (described in numbers) which is progressively repeated up or down a specific scale. This book is not intended as a compendium of every possible pattern … << /Length 5 0 R /Filter /FlateDecode >> It is therefore unlikely that you (at least initially) will choose to run a pattern through a scale with 5 flats or 5 sharps. (Down - Up - Top) DG 1.7 - Practice in Triplet Quavers There is one final and most important aspect of digital pattern practice. (Down - Up - Top) DG 1.8 - Practice Materials METRONOME Key Type Tempo Description A & D Major chords MM=75 - MM=100   Alternating A for 8 bars, then D for 8 bars A7 & D7 Dominant chords MM=75 - MM=100 Alternating A7 for 8 bars, then D7 for 8 bars Am & Dm Minor chords MM=75 - MM=100 Alternating Amin for 8 bars, then Dmin for 8 bars A & D IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Bm7-E7-AΔ , then 16 bars Em7-A7-DΔ G & C Major chords MM=70 - MM=100 Alternating G for 8 bars, then C for 8 bars G7 & C7 Dominant chords MM=75 - MM=100 Alternating G7 for 8 bars, then C7 for 8 bars Gm & Cm Minor chords MM=75 - MM=100 Alternating Gmin for 8 bars, then Cmin for 8 bars G & C IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Am7-D7-GΔ , then 16 bars Dm7-G7-CΔ F & Bb Major chords MM=75 - MM=100 Alternating F for 8 bars, then Bb for 8 bars F7 & Bb7 Dominant chords MM=75 - MM=100 Alternating F7 for 8 bars, then Bb7 for 8 bars Fm & Bbm   Minor chords MM=75 - MM=100 Alternating Fmin for 8 bars, then Bbmin for 8 bars F & Bb IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Gm7-C7-FΔ , then 16 bars Cm7-F7-BbΔ Eb & Ab Major chords MM=75 - MM=100 Alternating Eb for 8 bars, then Ab for 8 bars Eb7 & Ab7 Dominant chords MM=75 - MM=100 Alternating Eb7 for 8 bars, then Ab7 for 8 bars Ebm & Abm   Minor chords MM=75 - MM=100 Alternating Ebmin for 8 bars, then Abmin for 8 bars Eb & Ab IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Fm7-Bb7-EbΔ , then 16 bars Bbm7-Eb7-AbΔ G Embellished Blues   MM=75 - MM=100 C Embellished Blues MM=75 - MM=100 F Embellished Blues MM=75 - MM=100 Bb Embellished Blues MM=75 - MM=100 Eb Embellished Blues MM=75 - MM=100 Vertical correlation of Keys Concert Key A D G C F Bb Eb Ab Bb instruments B E A D G C F Bb Eb instruments F# B E A D G C F ( Up - Top - Impro Library) Copyright © 2007 Michael Furstner. We can achieve this by playing a 4-digit pattern in triplet quavers. Building on Trane’s concept… One of the most notable players to follow in Trane’s footsteps was Michael Brecker. Included in the Play-along Library are embellished blues tracks in five different keys. Here is an example of the C Mixolydian mode played in semiquavers. Doing so suddenly produces a totally new perspective and sound scape. Digital Pattern No.4 is a very popular diad pattern often used in Jazz improvisation. Audio 1.6 Experiment with starting on different notes, especially chord tones (1, 3, 5, 7, 9) of the IIm7 chord. Practice pattern on all 3 diminished chords (C, C#, and D) II. And so on. Instead of a regular beat on the first digit of each pattern segment, beat accents now fall in turn on all of the digits as the run progresses. So far we have practised the 4-digit pattern in quavers and semiquavers. in quavers in triplet quavers in semiquavers Depending on both your skill level and the tempo of the song you should in most cases be able to use at least two of above tempos for digitals over any song. This constitutes ample material for meaningful practice. To take full advantage of the above considerations we should look for suitable 2 bar opportunities in songs to use digital pattern runs. First one chord is played for 8 bars, then the next one (a 5th down) for 8 bars, then back to the first one again. When a C is next to a B : use the side key C When a C is not next to a B : use the middle finger C When a Bb is next to a C : use the side key Bb When a Bb is not next to a C : use the biskey Bb When an F# is next to an F : use the side key F# When an F# is not next to an F : use the low E or D key Other instruments should follow similar correct fingering rules as specified in a text book or by your instrumental teacher. When using a digital pattern in Jazz improvisation remember that in swing style the quavers should be swing quavers. Once you can master that, start practice with the backing tracks. The pattern is in semiquavers. (Down - Up - Top) DG 1.7 - Practice in Triplet Quavers There is one final and most important aspect of digital pattern practice. In such case, after the first bar the underlying scale changes for the 2nd bar and hence the pattern also. Small 4 note fragments that you can use in your solos, and they are amazing because for each chord you solo over there are a lot and they are very easy to play. Using an arpeggio (broken chord) we arrive one octave higher in half a bar. Posted on January 26, 2017 by Anders Larson. Once you master all aspects presented in this lesson you have the ability to apply digital patterns in your improvisation at three different speeds. This article examines a common four note pattern which is sometimes referred to as the Coltrane Pattern … Alternating A for 8 bars, then D for 8 bars, Alternating A7 for 8 bars, then D7 for 8 bars, Alternating Amin for 8 bars, then Dmin for 8 bars, Alternating G for 8 bars, then C for 8 bars, Alternating G7 for 8 bars, then C7 for 8 bars, Alternating Gmin for 8 bars, then Cmin for 8 bars, Alternating F for 8 bars, then Bb for 8 bars, Alternating F7 for 8 bars, then Bb7 for 8 bars, Alternating Fmin for 8 bars, then Bbmin for 8 bars, Alternating Eb for 8 bars, then Ab for 8 bars, Alternating Eb7 for 8 bars, then Ab7 for 8 bars, Alternating Ebmin for 8 bars, then Abmin for 8 bars, 8-note dominant and 8-note diminished scales, We can play faster (more notes per beat) : creating great, We can sustain the run longer (2 bars +) : creating ever increasing, In addition the relatively small pitch range required for digital runs is, from a practical point, especially welcome for. DG 1.5 - Practice over II-V-I segments When going up or down one octave in pitch we have several musical roads we can travel. From shop MoonCult5000. Audio 1.8   Audio 1.9 First practise this new technique very slowly with the metronome. … First a 4-bar II-V-I segment in one key is played for 4 times (16 bars total), then the next 4-bar II-V-I segment (a 5th down) plays also 4 times, then back to the first one again. In music and jazz improvisation, a melodic pattern (or motive) is a cell or germ serving as the basis for repetitive pattern.It is a figure that can be used with any scale.It is used primarily for solos because, … (Down - Up - Top) DG 1.8 - Practice Materials METRONOME Key Type Tempo Description A & D Major chords MM=75 - MM=100   Alternating A for 8 bars, then D for 8 bars A7 & D7 Dominant chords MM=75 - MM=100 Alternating A7 for 8 bars, then D7 for 8 bars Am & Dm Minor chords MM=75 - MM=100 Alternating Amin for 8 bars, then Dmin for 8 bars A & D IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Bm7-E7-AΔ , then 16 bars Em7-A7-DΔ G & C Major chords MM=70 - MM=100 Alternating G for 8 bars, then C for 8 bars G7 & C7 Dominant chords MM=75 - MM=100 Alternating G7 for 8 bars, then C7 for 8 bars Gm & Cm Minor chords MM=75 - MM=100 Alternating Gmin for 8 bars, then Cmin for 8 bars G & C IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Am7-D7-GΔ , then 16 bars Dm7-G7-CΔ F & Bb Major chords MM=75 - MM=100 Alternating F for 8 bars, then Bb for 8 bars F7 & Bb7 Dominant chords MM=75 - MM=100 Alternating F7 for 8 bars, then Bb7 for 8 bars Fm & Bbm   Minor chords MM=75 - MM=100 Alternating Fmin for 8 bars, then Bbmin for 8 bars F & Bb IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Gm7-C7-FΔ , then 16 bars Cm7-F7-BbΔ Eb & Ab Major chords MM=75 - MM=100 Alternating Eb for 8 bars, then Ab for 8 bars Eb7 & Ab7 Dominant chords MM=75 - MM=100 Alternating Eb7 for 8 bars, then Ab7 for 8 bars Ebm & Abm   Minor chords MM=75 - MM=100 Alternating Ebmin for 8 bars, then Abmin for 8 bars Eb & Ab IIm7-V7-IΔ MM=75 - MM=100 Alternating 16 bars Fm7-Bb7-EbΔ , then 16 bars Bbm7-Eb7-AbΔ G Embellished Blues   MM=75 - MM=100 C Embellished Blues MM=75 - MM=100 F Embellished Blues MM=75 - MM=100 Bb Embellished Blues MM=75 - MM=100 Eb Embellished Blues MM=75 - MM=100 Vertical correlation of Keys Concert Key A D G C F Bb Eb Ab Bb instruments B E A D G C F Bb Eb instruments F# B E A D G C F ( Up - Top - Impro Library) Copyright © 2007 Michael Furstner. In this first maj7 jazz guitar pattern… And so on. For saxophone use the keys you use for the proper playing of scales at high speed. Here is pattern 1234 played in triplet quavers over the C Mixolydian mode. In other words the digital pattern and the rhythm used are synchronised.But what happen when the pattern and rhythm are mismatched ? (Down - Up - Top) DG 1.4 - Practice over a Single Chord The next step is to get comfortable playing patterns in a real musical setting. They were proficient, intelligent musicians combining their knowledge from various backgrounds to create something new. Doing so suddenly produces a totally new perspective and sound scape. Instead of a regular beat on the first digit of each pattern segment, beat accents now fall in turn on all of the digits as the run progresses. Once you can master that, start practice with the backing tracks. Doing so suddenly produces a totally new perspective and sound scape. Here is the notation for Pattern 1234 over the C Mixolydian mode. And so on. This is a free trombone lesson about improvising over basic tonic chords in all keys. They all have in common that they can create drive ("forward motion"), excitement and build up increasing tension over 2 to 3 consecutive bars. Leave a reply. Left vs. The pattern is in semiquavers. In just two weeks it is unlikely that you cover all routines dealt with in this lesson, but in time you will come back to it and progress further.Once you are on top of all six patterns you can of course swap them around in your practice routines as you wish. Included in the Play-along Library are embellished blues tracks in five different keys. Spark 2 is one of the best drum plugins by Arturia which is a notable … John Coltrane was probably the first to make notable use of these kinds of patterns, which he did on the record "Giant Steps". Once again start on different chord tones, playing patterns both up and down. This works best in most cases with only a few rare exceptions. Hands-on jazz exercise: Basic patterns with free sheet music and audio. For example the Pattern 1234 over the C major … *FREE* shipping on qualifying offers. For bass clef instruments here is the pdf: 6 Patterns For Major Scales (Bass Clef) I also want to suggest a great book for a further study of patterns. I'm a jazz … In such case, after the first bar the underlying scale changes for the 2nd bar and hence the pattern also. In this handout, excerpted from the forthcoming book Jazz Patterns for Improvisation and Technical Development, Joseph Henson shares some good patterns for students learning to play over a ii-V7-I chord progression. First one chord is played for 8 bars, then the next one (a 5th down) for 8 bars, then back to the first one again. And where better will we find these than in the numerous IIm7 - V7 and IIm7 - V7 - IΔ segments present in virtually every song in the Jazz and Popular repertoire ? By digital we mean both fingers and numbers. Here is pattern 1234 played in triplet quavers over the C Mixolydian mode. Each worksheet contains the full harmonic analysis of a jazz … Included in the Play-along Library are embellished blues tracks in five different keys. Listen-ing to jazz … With a quaver scale run it will take one full bar to arrive one octave higher But with a 4-digit pattern in semiquavers (or a 3-digit one in triplets) it takes a full 2 bars to reach our destination. If gives them much greater choice of where to start and end their run. The semiquavers however always remain straight. Once you can master that, start practice with the backing tracks. Therefore above list is actually not as daunting as it may look at a first glance. At some point in almost every Jazz musician's development he/she usually works on digital patterns. Here is a IIm7 - V7 - IΔ in the key of C major. All of them of course have their merit.However the digital pattern stands out in three distinct ways. Digital patterns can be helpful for learning to play over … More than any other ingredient, the JAZZ TRADITION is based on LISTENING. Here is an example of the C Mixolydian mode played in semiquavers. Here is the notation for Pattern 1234 over the C Mixolydian mode.