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Listen to Cool Jazz Radio. Welcome to the Cool Jazz radio channel. A little more modern than the other Jazz radio stations we have here. With a lighter tone and gentle melodies. Our Cool Jazz station plays some of the very best Jazz music from the following Jazz musicians: Paul Tanner – American musician, trombonist. These chords, which feature the cool-sounding and fun to play II7 chord, are mostly associated with the classic Ellington track Take the A Train. The movement from Imaj7 to II7 to iim7 is one that you will see in many different jazz guitar tunes, including the classic Bossa Nova track The Girl From Ipanema, and is therefore worth working on. Home > Impro & Theory > Jazz & Blues Improvisation > Jazz Patterns & Licks How many jazz improvisers construct a completely original solo? It may be fair to say that most players rely on scales and patterns (aka licks, phrase or in more academic circles, formulae ). Or legally share your own online mix, a streaming playlist with 8 or more tracks. Playlists featuring jazz, jazzy, and chill music. Play all Share Edit. Save Cancel Delete. I like beats by asr_30. I like beats. Veritas by Alex Skolnick Trio. Published on August 8, 2011. “Alone in Brooklyn” shows us Alex’s acoustic guitar work with the upright Bow works laying down the low end. This piece has a melancholy theme that conveys the loneliness one can feel even while surrounded by so many in NYC. Looking for some cool Jazz. Learn 141 Jazz Guitar licks over common chords and chord progressions, including major and minor 251. And not just a cool-sounding line. You can use II7 V7.

But you want to know some places where you know they might sound good ahead of time. I can tell you this, but you have to promise not to believe me, and test them out yourself and listen carefully!

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The easiest one to use is a IVmaj7 in a major key, say Fmaj7(#11) in the key of C. The second chord to the verse of “Stardust” is this chord function. But be careful, because as soon as you tonicise the IV chord (in C, play Gm7 C7 just before it, or just C7) then you have introduced B flats to our ears and the B natural on the F chord will sound like a borrowed (foreign) note. You probably want to start with the ones that sound natural, not borrowed.

Just about any other maj7 chord related to a major key, except for the Imaj7. The #11 on the I chord is a borrowed note, and so changes the way we hear that chord. But in the key of C, the Dbmaj7 (from C Phrygian), Ebmaj7 (from C Aeolian), Fmaj7, Gbmaj7 (from Locrian), Abmaj7 (Aeolian again), and Bbmaj7 (from Mixolydian) chords all have #11s that are diatonic to the key of C, and so sound very normal. Again, don’t tonicise them for best effect. Not tonicising target chords is more common in modern jazz than in standard-type tunes, so #11s show up a lot more in modern times.

Just about any tritone substitute takes a #11 as part of its first-choice chord scale. So in Dm7 Db7 Cmaj7 (or to Cm anything), the G natural is the #11 on the Db7 chord. Sounds great! Also, Eb7 to Dm7, F7 to Em7, Ab7 to G7 (in classical music, this is the French 6th chord with the built-in #11!), Bb7 to Am7, all take #11s.

One of my favourite borrowed-note versions of a #11 chord is the V7/V in a major key. Say, D7 when it’s about to go to G7 in the key of C, like the second chord on “Take the A Train”. The #11 (G#) on the D7 is right there in the melody, and it is a beautiful alteration (I call it an alteration here because it is NOT in the home key of C major!)

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Once you get used to those very conservative uses of #11s, you can start peppering them in anywhere. For one thing, altered dominants that take the Altered scale have a consonant #11. Gauge the effect; they aren’t always perfectly effective. Try one on a last chord especially.

Thanks for the A2A.

Yes, a shortcut is to know the major pentatonic for the V, and use that. All of its notes fit into a ii-V7-I.

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Aside from that, at an early stage, you need to do two things:

1. Develop your vocabulary or inventory of habitual notes: practice all 12 major scales (or start with the six keys you’re most likely to encounter), over the entire range of your instrument, up and down, starting and ending on any note. This is to develop the ability to get from one note to another using notes within the appropriate scale. Play an F and want to get to a D? Practice enough scales and you’ll just fly there, and you’ll feel comfortable enough to change direction if you want. Also practice those stairstep patterns like C E D F E G F A G B A C …. drill, drill, drill until it comes naturally. Imagine yourself having a conversation with someone as you go up and down … any given scale needs to be a habit without looking. Muscle memory.
2. Hop around at random. Play notes from those inventories; play them short and long. Imitate a rhythm you’ve heard. Write down one from a tune that you like, and learn it in multiple keys. Basically, mess around. Go up for a bit, then drop down; play the same note for a bit, then go up; do a stairstep up, then decide to hold on that one note …. You have to listen to a lot of jazz to let this sink in and come out of you. Bottom line: you have to be comfortable messing around and screwing up.

We can’t learn how to do this with the mindset of “tell me what to play.” We have to drill and drill to develop habits (note inventories), then we have to screw around by hopping around those notes.

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Improvising is not reading a script; it’s making shit up in our heads.

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If there are too many notes in a major scale to hop around, just use the V pentatonic over the sequence, then insert one appropriate note from the major scale every now and then (not the fourth). Then move on to changing scale inventories with the chords.

Always, always, always, lead with your ears. Ears first. Only go to the cool jazz patterns once you get bored with hopping around the scale. Then the patterns will seem easier and familiar: segments of scales that you already know by heart.

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P.S. And get the Aebersold CD that covers ii-V7-!. It’s volume 3, I think.