Chords for Stéphane Wrembel - Shapes For Improvisation (Gypsy Jazz Lesson Excerpt)
Tempo:
95.7 bpm
Chords used:
Am
E
F#
Dm
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
So one of the things that is important for me is more in the harmony.
I'm not talking about real harmony, which can be found in the theory of harmony of Arnold Schoenberg or any classical treaty, which is really the detail of how to move voices and stuff perfectly.
That is a different thing.
I'm talking about more like improvisational harmony, which is way simpler, but it's designed to create in real time.
So I always base my thing on a little shape, you know.
It's actually on the book that I wrote, Getting into Gypsy Jazz, at Mail Bay.
This is very detailed in it, but [Am] in a nutshell, if I have A minor, I have that little shape here of A minor.
That second shape of A minor is here.
And that third shape of A minor is there.
Which is the same thing as that open finger.
And I base everything on that.
From a little shape like that,
[F#] [D]
we find notes on the right side and the left side of it.
And [F#]
not [Em]
[C] [F#]
[Am] [F#]
[Am] only that, we find also the bass.
Once this is understood and mastered, then the bass is right there.
It's right on there.
That's it.
You just have three notes.
[F#] So it's easy to find the bass, to find notes on the right, on the left.
So it's a very clear vision of harmony.
In tonal music, it's very important to understand the movement of each chord.
Modal is more like one color, but tonal is like different changes of chord.
It's very important to be aware of that.
So any time a chord changes, we change that little chord.
And from that we can create motifs, which is the most important thing to develop improvisation, is develop around motifs.
[A] So that's minor, but major is also important.
For example, A major.
Or let's do for example, a formino swing, or that kind of progression, which is really a minor blues in 16 bars.
So [Am] we have A minor, and then we have D [Dm] minor, [Am] which is this [Dm] shape, but over there.
This one here.
And [Am] this one, which was [E] there in A minor.
And then the E7, I consider a major chord.
Before I put a 7 in it, I see it as major.
So I have the shape for E major, which corresponds to that C major shape usually.
Or [D] like [E] a D, but here.
That's the big E.
[Am] So I have A minor, D [Dm] minor, [E] E major, [Am]
A minor, [Dm] D minor, [Am] A minor, [E] E major, [Am] A minor, [E] E major.
[Am] [E] [N]
So knowing this chord is a great foundation.
But now we have to put them in motion.
So the first thing is, in order to
See these are frozen.
An arpeggio is a melted chord, and a chord is a frozen arpeggio.
That's Mick Goodrick, I think, who said that in his Advancing Guitarist book.
Very good book, The Advancing Guitarist by Mick Goodrick, [Am] but whatever.
In order to
Like here, they are like frozen arpeggios, those little chords.
But to melt them and to play more like the solo stuff, we have to see them as little scales.
Little [F] four-note scales.
That's how I [Am] like to see them.
I don't do that.
I just do one note, one note, one note, one note.
[Dm] [B] [E]
[Am]
[Dm]
[E]
[Am] [F#]
So it goes like that, like with single notes.
I [A] think at first, the first thing is to try to
Like I just did to follow [F#] the shape of the chords of Minors Swing, [Am] for example.
[Dm] [E]
[Am]
[Dm]
[D] [Am] [F#]
[E] [Am]
[E] [A]
I'm not talking about real harmony, which can be found in the theory of harmony of Arnold Schoenberg or any classical treaty, which is really the detail of how to move voices and stuff perfectly.
That is a different thing.
I'm talking about more like improvisational harmony, which is way simpler, but it's designed to create in real time.
So I always base my thing on a little shape, you know.
It's actually on the book that I wrote, Getting into Gypsy Jazz, at Mail Bay.
This is very detailed in it, but [Am] in a nutshell, if I have A minor, I have that little shape here of A minor.
That second shape of A minor is here.
And that third shape of A minor is there.
Which is the same thing as that open finger.
And I base everything on that.
From a little shape like that,
[F#] [D]
we find notes on the right side and the left side of it.
And [F#]
not [Em]
[C] [F#]
[Am] [F#]
[Am] only that, we find also the bass.
Once this is understood and mastered, then the bass is right there.
It's right on there.
That's it.
You just have three notes.
[F#] So it's easy to find the bass, to find notes on the right, on the left.
So it's a very clear vision of harmony.
In tonal music, it's very important to understand the movement of each chord.
Modal is more like one color, but tonal is like different changes of chord.
It's very important to be aware of that.
So any time a chord changes, we change that little chord.
And from that we can create motifs, which is the most important thing to develop improvisation, is develop around motifs.
[A] So that's minor, but major is also important.
For example, A major.
Or let's do for example, a formino swing, or that kind of progression, which is really a minor blues in 16 bars.
So [Am] we have A minor, and then we have D [Dm] minor, [Am] which is this [Dm] shape, but over there.
This one here.
And [Am] this one, which was [E] there in A minor.
And then the E7, I consider a major chord.
Before I put a 7 in it, I see it as major.
So I have the shape for E major, which corresponds to that C major shape usually.
Or [D] like [E] a D, but here.
That's the big E.
[Am] So I have A minor, D [Dm] minor, [E] E major, [Am]
A minor, [Dm] D minor, [Am] A minor, [E] E major, [Am] A minor, [E] E major.
[Am] [E] [N]
So knowing this chord is a great foundation.
But now we have to put them in motion.
So the first thing is, in order to
See these are frozen.
An arpeggio is a melted chord, and a chord is a frozen arpeggio.
That's Mick Goodrick, I think, who said that in his Advancing Guitarist book.
Very good book, The Advancing Guitarist by Mick Goodrick, [Am] but whatever.
In order to
Like here, they are like frozen arpeggios, those little chords.
But to melt them and to play more like the solo stuff, we have to see them as little scales.
Little [F] four-note scales.
That's how I [Am] like to see them.
I don't do that.
I just do one note, one note, one note, one note.
[Dm] [B] [E]
[Am]
[Dm]
[E]
[Am] [F#]
So it goes like that, like with single notes.
I [A] think at first, the first thing is to try to
Like I just did to follow [F#] the shape of the chords of Minors Swing, [Am] for example.
[Dm] [E]
[Am]
[Dm]
[D] [Am] [F#]
[E] [Am]
[E] [A]
Key:
Am
E
F#
Dm
D
Am
E
F#
_ _ _ _ _ _ _ _
_ So one of the things that is important for me is more in the harmony.
I'm not talking about real harmony, which can be found in the theory of harmony of Arnold Schoenberg or any classical treaty, which is really the detail of how to move voices and stuff perfectly.
_ That is a different thing.
I'm talking about more like improvisational harmony, which is way simpler, but it's designed to create in real time.
_ So I always base my thing on a little shape, you know.
It's actually on the book that I wrote, Getting into Gypsy Jazz, at Mail Bay.
This is very detailed in it, but [Am] in a nutshell, _ _ _ _ _ if I have A minor, _ _ I have that little shape here of A minor.
_ That second shape of A minor is here.
_ And that third shape of A minor is there.
_ _ Which is the same thing as that open finger.
_ And I base everything on that. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ From a little shape like that, _ _ _
_ [F#] _ _ _ _ _ _ [D] _
we find notes on the right side and the left side of it.
And _ [F#]
not _ _ _ _ _ _ [Em] _
_ [C] _ _ _ _ _ [F#] _ _
_ _ [Am] _ _ [F#] _ _ _ _
_ _ _ _ [Am] _ only that, we find also the bass. _ _ _ _ _
Once this _ is understood and mastered, then the bass is right there.
It's right on there.
_ That's it.
You just have three notes. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [F#] So it's easy to find the bass, to find notes on the right, on the left.
So it's a very clear vision of harmony.
_ In tonal music, it's very important to understand the movement of each chord. _
Modal is more like one color, but tonal is like different changes of chord.
It's very important to be aware of that.
So any time a chord changes, we change that little chord.
And from that we can create motifs, which is the most important thing to _ develop improvisation, is develop around motifs.
[A] So that's minor, but major is also important.
_ For example, A major. _
Or let's do for example, a formino swing, or that kind of progression, which is really a minor blues in 16 bars.
So [Am] _ we have A minor, _ _ _ _ and then we have D [Dm] minor, _ _ [Am] which is this [Dm] shape, but over there.
_ _ _ _ _ This one here.
_ _ _ _ And [Am] this one, which was [E] there in A minor.
_ And then the E7, I consider a major chord.
Before I put a 7 in it, I see it as major.
So I have the shape for E major, which corresponds to that C major shape usually.
_ _ _ Or [D] like [E] a D, but here.
_ _ That's the big E. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Am] So I have A minor, _ _ D [Dm] minor, _ _ _ [E] E major, _ _ _ [Am]
A minor, _ _ [Dm] D minor, _ _ [Am] A minor, _ _ _ [E] E major, _ _ _ [Am] A minor, [E] E major.
_ [Am] _ _ [E] _ _ _ [N] _
So knowing this chord is a great _ foundation. _
But now we have to put them in motion.
So the first thing is, in order to_
See these are frozen. _ _ _ _
An arpeggio is a melted chord, and a chord is a frozen arpeggio.
_ _ That's Mick Goodrick, I think, who said that in his Advancing Guitarist book.
Very good book, The Advancing Guitarist by Mick Goodrick, [Am] but whatever.
_ _ _ In order to_
Like here, they are like frozen arpeggios, those little chords.
But to melt them and to play more like the solo stuff, _ we have to see them as little scales.
Little [F] four-note scales.
That's how I [Am] like to see them. _ _ _
I don't do that.
_ _ I just do one note, one note, one note, one note. _ _ _ _ _ _
[Dm] _ _ _ _ _ _ [B] _ [E] _
_ _ _ _ _ _ _ [Am] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Dm] _ _
_ _ _ _ [E] _ _ _ _
_ _ [Am] _ _ _ [F#] _ _ _
So it goes like that, like with single notes. _ _ _
_ I [A] think at first, the first thing is to try to_
Like I just did to follow [F#] the shape of the chords of Minors Swing, [Am] for example. _ _ _ _ _ _
[Dm] _ _ _ _ _ _ _ [E] _
_ _ _ _ _ [Am] _ _ _
_ _ _ [Dm] _ _ _ _ _
_ [D] _ [Am] _ [F#] _ _ _ _ _
[E] _ _ _ _ _ _ [Am] _ _
_ [E] _ _ _ [A] _ _ _
_ So one of the things that is important for me is more in the harmony.
I'm not talking about real harmony, which can be found in the theory of harmony of Arnold Schoenberg or any classical treaty, which is really the detail of how to move voices and stuff perfectly.
_ That is a different thing.
I'm talking about more like improvisational harmony, which is way simpler, but it's designed to create in real time.
_ So I always base my thing on a little shape, you know.
It's actually on the book that I wrote, Getting into Gypsy Jazz, at Mail Bay.
This is very detailed in it, but [Am] in a nutshell, _ _ _ _ _ if I have A minor, _ _ I have that little shape here of A minor.
_ That second shape of A minor is here.
_ And that third shape of A minor is there.
_ _ Which is the same thing as that open finger.
_ And I base everything on that. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ From a little shape like that, _ _ _
_ [F#] _ _ _ _ _ _ [D] _
we find notes on the right side and the left side of it.
And _ [F#]
not _ _ _ _ _ _ [Em] _
_ [C] _ _ _ _ _ [F#] _ _
_ _ [Am] _ _ [F#] _ _ _ _
_ _ _ _ [Am] _ only that, we find also the bass. _ _ _ _ _
Once this _ is understood and mastered, then the bass is right there.
It's right on there.
_ That's it.
You just have three notes. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ [F#] So it's easy to find the bass, to find notes on the right, on the left.
So it's a very clear vision of harmony.
_ In tonal music, it's very important to understand the movement of each chord. _
Modal is more like one color, but tonal is like different changes of chord.
It's very important to be aware of that.
So any time a chord changes, we change that little chord.
And from that we can create motifs, which is the most important thing to _ develop improvisation, is develop around motifs.
[A] So that's minor, but major is also important.
_ For example, A major. _
Or let's do for example, a formino swing, or that kind of progression, which is really a minor blues in 16 bars.
So [Am] _ we have A minor, _ _ _ _ and then we have D [Dm] minor, _ _ [Am] which is this [Dm] shape, but over there.
_ _ _ _ _ This one here.
_ _ _ _ And [Am] this one, which was [E] there in A minor.
_ And then the E7, I consider a major chord.
Before I put a 7 in it, I see it as major.
So I have the shape for E major, which corresponds to that C major shape usually.
_ _ _ Or [D] like [E] a D, but here.
_ _ That's the big E. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Am] So I have A minor, _ _ D [Dm] minor, _ _ _ [E] E major, _ _ _ [Am]
A minor, _ _ [Dm] D minor, _ _ [Am] A minor, _ _ _ [E] E major, _ _ _ [Am] A minor, [E] E major.
_ [Am] _ _ [E] _ _ _ [N] _
So knowing this chord is a great _ foundation. _
But now we have to put them in motion.
So the first thing is, in order to_
See these are frozen. _ _ _ _
An arpeggio is a melted chord, and a chord is a frozen arpeggio.
_ _ That's Mick Goodrick, I think, who said that in his Advancing Guitarist book.
Very good book, The Advancing Guitarist by Mick Goodrick, [Am] but whatever.
_ _ _ In order to_
Like here, they are like frozen arpeggios, those little chords.
But to melt them and to play more like the solo stuff, _ we have to see them as little scales.
Little [F] four-note scales.
That's how I [Am] like to see them. _ _ _
I don't do that.
_ _ I just do one note, one note, one note, one note. _ _ _ _ _ _
[Dm] _ _ _ _ _ _ [B] _ [E] _
_ _ _ _ _ _ _ [Am] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Dm] _ _
_ _ _ _ [E] _ _ _ _
_ _ [Am] _ _ _ [F#] _ _ _
So it goes like that, like with single notes. _ _ _
_ I [A] think at first, the first thing is to try to_
Like I just did to follow [F#] the shape of the chords of Minors Swing, [Am] for example. _ _ _ _ _ _
[Dm] _ _ _ _ _ _ _ [E] _
_ _ _ _ _ [Am] _ _ _
_ _ _ [Dm] _ _ _ _ _
_ [D] _ [Am] _ [F#] _ _ _ _ _
[E] _ _ _ _ _ _ [Am] _ _
_ [E] _ _ _ [A] _ _ _