The Shape Method – Chapter 17 with Lynn Baker

Hi this is Lynn Baker, I’m the chair of the Jazz Studies and Commercial Music Department at the University of Denver, Lamont School of Music. Welcome to The Shape Method. This is a lesson on a chapter from The Shape Method for Jazz Improvisation. Hello and welcome to The Shape Method chapter seventeen. In this chapter we’re going to be
dealing with the rhythmic concept of playing in clave and harmonically we’re going to deal
with super-imposition on dominant chords that contain natural thirteen. So in regards the playing in clave what we’re
talking about is your ability to recognize what the clave is and line up
with it at points the you choose to line up with
it. So, I’m not talking about just playing the
clave in your lines – just playing the clave rhythm, that would
be a little bit boring. On the other hand, I’m not talking about playing all your great
bebop stuff right over the top without ever
acknowledgeing that there’s this crucial rhythmic element on going on in the bottom. So, how do you get halfway in between? Well
here’s a way you can do it. First of all practice putting consonance tones on the clave beats. Practice in a bunch of different ways –
practice with ascending arpeggios, consonance tones,
descending consonance tones, mixing up, broken consonance tones. Do that – and then once
that gets really comfortable, which won’t take you very long, start connecting those articulations of consonance tones with Shape Method concepts of resolution tones, extended bi-directional resolutions,
suspensions all that stuff we’ve been doing in
previous chapters. Start applying that to the consonance tones. And then, start selecting different places to start the con, the
line, in the clave, and different places to end –
creating larger structures that overall respect the clave but allow you this great rhythmic
flexibility to deal over the top this thing. That’ll make you
real happy when you’re able to do that. It’s really fun to be able to do that.
Super-imposition on dominant chords with natural thirteens. There
are eleven different types super-impositions of major or minor
triads on a major triad that imply some sorta dominant chord
function with the natural 13. Rather than going
through all of them I’m just going to show you a graphic of them and
you can check them out for a minute. Of course, it’s in chapter 17 of The Shape Method, if you have the book you can study it from there. So here’s the
graphic… So, chapter seventeen – playing in clave and all sorts of rich
harmonic material so you can get on dominate chords with natural 13’s through super-imposing major and minor
triads. Thanks for watching and I hope you enjoyed the chapter. To go deeper into the ideas, purchase The Shape Method. You’ll receive detailed information, more examples, listening suggestions, composition and performance exercises, and appendices of public domain jazz
language, and an explanation of why the Blues Scale works and more. Get chops on the concepts by purchasing the Etude Supplements Volume One and Two. Please subscribe to the channel, and tell your friends.

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