Thank you very much to everyone who came to my Jazz improvisation workshop last weekend. I realize some of you may have been a bit overwhelmed by the sheer amount of material presented. With time and the study of your notes you'll be more able to put some of these elements into practical application. This process doesn't happen overnight so be patient!
Here are some of the key points that I covered:
Rules for finding scales for dominant and majors chords-
1. Any alteration implies a #11
2. b9 implies a #9 and vice versa
3. b13 implies no 5
To quickly find scales for these chords-
C7 #11 - up a fifth melodic (G melodic minor)
C7 b9 (or #9)- up a half step diminished (C# dim)
C7 b13 (or +)- whole tone from root
C7 b9 b13, or C7 alt, or C7 #9 b13, or C7 b9 #9 b13 #11- up a half step
C7 b9 b13 natural 11- up a 4th harmonic minor
C-7(b5)-up a half step maj (C# maj) or up a minor 3rd melodic minor (Eb
melodic-) or down a whole step harmonic minor or up a 4th harmonic minor (Bb Harm.)
C sus7 (b9)- down a whole step melodic minor (Bb melodic)
C maj7 #5 - down a minor 3rd melodic minor or down a minor 3rd harmonic minor
You may add the related ii-7 before any add any related V7 after any two.
You may add #11s to any major or dominant chord.
When analyzing a tune to determine appropriate scales for blowing first look at the dominant seventh chords and where they are resolving. Look only at the root motion, the quality of the next chord (maj, min, ect) is not important. If the V7 is moving down a 5th to the next chord then you have the freedom to alter that chord (WT, Dim, Alt, Lyd dom). If it is moving down a half step then only alter the V7 as far as the Lydian dominant (up a fifth melodic). Also the V7 may not go directly to it's resolution, there may be a delayed resolution - example: /C7/ G-7 F7/ the C7 is still resolving down a fifth (by way of the G-7) and can be altered by the improviser.
Remember that if you add alterations to a dominant 7th chord, start less altered and add alterations.
For example- If you are playing over two bars of G7 going to C you may play a straight mixolydian in the first bar and then play a G7#11 (D melodic-) for the first two beats of bar two and an G7 altered dominant (Ab melodic-) in the last two beats of the second bar. You would not want to start with the G7 altered dominant and THEN play a straight mixolydian before resolving in bar three.
~Use brackets to mark ii- V7s and dotted brackets to mark ii-7 subV7s (example: D-7 C#7)
~Draw arrows from V7 to I resolutions (example C7 to Fmaj, or C7 to F7, or C7 to F-7)
~Draw dotted brackets for ii-7 to subV7s (example- D-7 to C#7)