Jazz improvisation is often viewed as an art form that blends creativity with a deep understanding of music theory and harmony. When learning jazz improvisation, you may hear that one of its essential components is knowing which scales to use over specific chords to create the desired sound. However, I want to clarify that when I refer to playing a particular scale, I don’t mean playing the scale in a linear fashion. Instead, I’m suggesting that you use the notes within that scale to craft phrases and melodies that complement the underlying harmony. In this article, we’ll explore how different scale notes can be applied to various chords to enhance your improvisational skills.
The Importance of Chord-Scale Relationships
At its core, jazz improvisation involves playing notes that complement the underlying harmony. This is where chord-scale relationships come into play. Each chord has a corresponding scale (or multiple scales) that contains the notes that will sound consonant or appropriate when played over that chord. Understanding these relationships allows you to create melodic lines that align with the harmonic structure of a piece.
Improvisation is the only artform in which the same note can be played night after night but differently each time. It is the hidden things, the subconscious that lets you know you feel this, you play this. – Ornette Coleman
Common Scales and Their Chord Applications
Below is a table that outlines the most commonly used scales in jazz improvisation and the chords they are typically applied to:
| Chord Type | Chord Symbol | Corresponding Scale(s) | Scale Description |
|---|---|---|---|
| Major 7 | Cmaj7 | Ionian (Major Scale) | The Ionian mode is simply the major scale and is the most consonant choice for major 7 chords. |
| Dominant 7 | G7 | Mixolydian | The Mixolydian mode is a major scale with a lowered 7th degree, creating a dominant sound. |
| Minor 7 | Dm7 | Dorian | The Dorian mode is a natural minor scale with a raised 6th, giving it a brighter minor sound. |
| Half-Diminished (Minor 7♭5) | Bm7♭5 | Locrian | The Locrian mode is a minor scale with a lowered 2nd and 5th, creating a darker, more dissonant sound. |
| Diminished | Bdim | Whole-Half Diminished (or Octatonic) | A symmetrical scale alternating whole and half steps, commonly used over diminished chords. |
| Dominant 7♭9 | G7♭9 | Half-Whole Diminished | This scale is symmetrical and alternates half and whole steps, ideal for creating tension over G7♭9. |
| Minor (Natural) | Am | Aeolian (Natural Minor) | The natural minor scale is often used for minor chords, creating a darker, more somber tone. |
| Minor (Melodic) | Am (melodic) | Melodic Minor | The melodic minor scale is a minor scale with a raised 6th and 7th, often used for a more modern sound. |
| Dominant 7#11 (Lydian Dominant) | G7#11 | Lydian Dominant (Mixolydian #4) | The Lydian Dominant scale is a Mixolydian mode with a raised 4th, adding a sharp, bright quality. |
| Altered Dominant | G7alt | Altered Scale (Super Locrian) | This scale includes all altered notes (♭9, #9, ♭5, #5) and is used to create maximum tension. |
Application in Improvisation
When improvising, it is essential to choose a scale that reflects the chord you are playing over. For example, if you are playing over a G7 chord, you might choose the Mixolydian scale to emphasize the dominant sound. However, if the G7 is altered (G7alt), the Altered Scale (Super Locrian) would be more appropriate to capture the tension created by the altered chord tones.
Composing will always be a memory of inspiration; improvising is live inspiration, something happening at that very moment. Do not fear mistakes. There are none. – Miles Davis
Example: Improvising Over a ii-V-I Progression
One of the most common progressions in jazz is the ii-V-I. In the key of C major, this would be Dm7 – G7 – Cmaj7. Here’s how you might approach improvising over each chord:
- Dm7 (ii chord): Use the Dorian mode (D E F G A B C) to create a minor yet bright sound.
- G7 (V chord): The Mixolydian mode (G A B C D E F) is a natural fit, but if the chord is altered (G7alt), you might switch to the Altered Scale (G Ab Bb B Db Eb F).
- Cmaj7 (I chord): The Ionian mode (C D E F G A B) will provide a resolution and a sense of completion to the progression.
Conclusion
Mastering the use of scales in jazz improvisation opens up a world of possibilities, allowing you to craft solos that are both harmonically sound and emotionally expressive. By understanding which scales correspond to which chords, you can develop a more nuanced and sophisticated approach to improvisation.
Remember, while these guidelines are helpful, jazz is ultimately about personal expression. Don’t be afraid to experiment and find your own voice within these frameworks.
Happy improvising!