Feliz Cinco de Mayo!
In the high school session, we worked on the melodic minor (ascending) scales, creating grooves for, and improvising over altered dominant and for lydian dominant sonorities. We then played a minor blues, focusing on areas where modes of the melodic minor scales would work.
In the high school session, and in the adult swim, we worked on feeling 16 and 32 bar lengths, by trading said amounts during our improvs. In the adult session, we focused on one key center (Bb7), trading 16s then 32s, sans accompaniment (only drums). We talked about the different ways to approach one dominant chord (using bebop scale, dim. scale, super locrian scale, lydian dominant scale, blues scale, pentatonic scale, etc.). Because there were less chord changes involved, some interesting phrases, rhythms and a better time feel began emerging. We then played over Anthropology, some blues, and finally played Jennine. Again, we played, for the most part, without chordal or bass accompaniment. I'm beginning to hear more clarity and purpose in the improvisations. That's a good thing.
In the high school session, we worked on the melodic minor (ascending) scales, creating grooves for, and improvising over altered dominant and for lydian dominant sonorities. We then played a minor blues, focusing on areas where modes of the melodic minor scales would work.
In the high school session, and in the adult swim, we worked on feeling 16 and 32 bar lengths, by trading said amounts during our improvs. In the adult session, we focused on one key center (Bb7), trading 16s then 32s, sans accompaniment (only drums). We talked about the different ways to approach one dominant chord (using bebop scale, dim. scale, super locrian scale, lydian dominant scale, blues scale, pentatonic scale, etc.). Because there were less chord changes involved, some interesting phrases, rhythms and a better time feel began emerging. We then played over Anthropology, some blues, and finally played Jennine. Again, we played, for the most part, without chordal or bass accompaniment. I'm beginning to hear more clarity and purpose in the improvisations. That's a good thing.
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