Theory Scope
In a modal jazz song an improviser can quickly run out of ideas. They can't rely on their favourite ii-v-i licks, or quick changing harmony to help them out, and after a few bars an improvisation can begin to sound dull and repetitive. The goal of this theory section is to introduce a player to new ideas, and ways of thinking when improvising over a modal jazz song. Wither it be introducing musical tension, using the pentatonic scale, comping with fourth chords, etc. Hopefully, by employing some of these techniques an improviser can add a new dimension to there modal improvisations. Some of the notated examples are geared towards piano players, but the concepts can be applied to any instrument.
Comprehensive Jazz Theory
This not a comprehensive theory on jazz improvisation. For comprehensive jazz theory resources, please browse the "Jazz Theory" section in "Learn to Play" (I highly recommend Mark Levine's "Jazz Theory Book", it is the gold standard). In addition, learning theory is just one part of the whole "Learning to Play" process; don’t get too hung-up on it. Music is an art form not a science, and you don’t want to get "paralysis by analysis".
In a modal jazz song an improviser can quickly run out of ideas. They can't rely on their favourite ii-v-i licks, or quick changing harmony to help them out, and after a few bars an improvisation can begin to sound dull and repetitive. The goal of this theory section is to introduce a player to new ideas, and ways of thinking when improvising over a modal jazz song. Wither it be introducing musical tension, using the pentatonic scale, comping with fourth chords, etc. Hopefully, by employing some of these techniques an improviser can add a new dimension to there modal improvisations. Some of the notated examples are geared towards piano players, but the concepts can be applied to any instrument.
Comprehensive Jazz Theory
This not a comprehensive theory on jazz improvisation. For comprehensive jazz theory resources, please browse the "Jazz Theory" section in "Learn to Play" (I highly recommend Mark Levine's "Jazz Theory Book", it is the gold standard). In addition, learning theory is just one part of the whole "Learning to Play" process; don’t get too hung-up on it. Music is an art form not a science, and you don’t want to get "paralysis by analysis".