Dorian superposition and the bottomless pit of melodies

So, let’s talk about modal superposition, shall we? I guess there were a lot of relatively technical (to avoid the word boring) posts in the recent time where I was mostly talking about scale practice and left hand patterns and whatnot — let’s take a break from that and look at composition.

I adore modes. They’re pure math that lends itself very well to the creative process (which is normally the opposite). They help you widen your composition framework and explore new areas. The cool thing about them is that you don’t have to master them in order to start using them. It’s kind of counter-intuitive as most jazz books assume that you’re familiar with Dorian scale in every key to such extent where you can improvise and harmonise without any effort. That scares a lot of people (me included), so they get stuck and spend years diligently running all the scales and memorising chord qualities, never really getting to the actual application. But that’s wrong!

You can start applying modes right away. The key is, it’s not about taking a particular Dorian scale and blasting it over a minor 7th chord at lightspeed. Instead, it’s more about picking E Dorian key and then adjusting your tools to match its colour.

Here’s an example of what I’m talking about:

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Here, I chose to play the 3rd degree of the harmonised Dorian scale (the III∆7 chord) in different shell voicings over the tonic (which is the i7, in this case, represented by a simple 5th chord). The same pattern is played in 3 keys: E, A and D Dorian.

I guess I’ve already mentioned the usefulness of jazz chord voicings like 7-3-5 or 3-7-9 or 3-7-6 — you name it — but I’ll do it once again: they are great material for improvisation, and they are extremely simple to play, because all you have to do is just arpeggiate the shapes you’re already familiar with (if you’re not, practice them harmonically first, I’ve got tons of workouts for that plus there are jazz books).

So, by superimposing G∆7 (Dorian III∆7) over Em7 (Dorian i7) we get a really nice and interesting sound — and that’s already a starting point for a song or improvisation. Cool, right? You don’t need to master Dorian mode in all 12 keys (or — 30 keys, you geeks) to start coming up with great ideas.

Let’s improve the piece above and add some more patterns to it:

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It’s the same melody, only the left hand now plays full minor 7th arpeggio and switches to chord shells every second bar. See what I’ve done here? The right hand uses the arpeggiated version of the chord shells as the material for the melody, and the left hand plays the same shells harmonically as an accompaniment. Check out how it sounds:

 

Fun fact: one of the tracks from my coming piano EP is based on this workout, so — stay tuned if you’d like to hear the full version! 🤓 (In the meantime, you might want to check out my new album that landed just two days ago.)

That’s it for today, wishing you a nice and productive week, practice hard, harmonise till it hurts, talk to you next time! 🤙🏻

Practice session: lost in dissonances, rescued by Lydian sweetness

Scale studies

  • All Hm1 scales
  • All Hm1 scales, focus on descending motion
  • Accidentals jam (Dorian scales in all keys) — must confess that this exercise does not really apply well to anything other than harmonic minor 😕

  • Scale dissection: C, F, Bb Lydian over moving major 7th arpeggio in groups of 3
  • Scale dissection: C, F, Bb & Eb Lydian over arpeggiated scale degrees in groups of 3

Here’s what I mean:

Screenshot 2019-04-07 at 10.09.03 AM.png

Surprisingly, it’s slightly easier to play than over the moving root arpeggio (because you don’t have to think about inversions all the time and simply go up the scale degrees) — and it sounds much better. Especially in sweet Lydian mode 🍭 Might get tricky in keys with a lot of accidentals though.

Jazz voicings + left hand

  • iim9 — V13 — I∆9 — IV∆ | iiø — V7b9 — m9 in C thru A, descending broken 10ths with the left hand

Session timing: 2h

Practice session: harmonic minor and rootless broken 10ths

Scale studies

  • All Hm1 scales

Left hand

  • Broken 10ths recap: Dorian DNA (i7 — IV) in all keys
  • Descending motion focus: rootless broken 10ths
  • Having some classical time: all minor 7th arpeggios in descending motion

What do I mean by “rootless broken 10ths”? 🥴

These are normal broken 10ths with some diatonic line (going from Cm to Fm):

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Here, I’ve just replaced 1s (C) with the 9ths (D) to get a super sexy sound of a 9th played below. Give it a try (and ignore the second measure):

Screenshot 2019-04-06 at 2.47.59 PM.png

Session timing: 1h 45m

Practice session: scale dissection and revisited ii — V — I’s

Scale studies

Jazz voicings + left hand

Observations

Scale dissection is getting much better, but still sucks in Bb- and other keys with a lot of accidentals, where the “white are 1 & 2, black are 3 & 7” pattern is not there anymore. This is why visual pattern are shit! To take a slightly better thought-through analogy, they are like sugar — addictive and unhealthy! 😄

Session timing: 1h 40m

Piano day (1h 40m)

Technique

  • Transposing Hanon (3 random exercises from Book 1) to F & Bb major

Modal studies + left hand

Rhythmic studies + hand independency + modal studies

  • Moving accents + scale runs (Dorian C thru Eb)
  • Mixolydian scales
    • I7 chord apreggiated with LH
    • Scale runs + articulated b7, 5 and octave with RH

Piano day (1h 40m)

Voicings + left hand

Scale studies

  • All Locrian scales

Comping

  • Comping over Worth the Wait in D to the walking bass & drums backing track in iReal
    • Avoiding roots and block in LH
    • Voice leading / smooth shells transition in RH
    • A little bit of soloing
    • Trying to avoid clashes w/ bass