Jazz songwriting

[virgoanmethod]

I can't seem to get a melody out of my jazz...I usually just have blues scales over chords in the bass (i play keys), but im getting really tired of that. I can't seem to write a melody that's jazzy enough for my style, because all I have now is just a constant solo (the scales). HELP!

Also, know any good chord progressions? I 'm always trying to find the perfect one.

 

[joro]

I can't seem to get a melody out of my jazz...

HELP!

Also, know any good chord progressions? I 'm always trying to find the perfect one.

try singing a melody man...then transpose it to an instrument...

chord progressions.....hmmmm...

I - IV & V ...any key...makes for good harmony...
or....try Am F C & G for a verse....
D C and G for a chorus....
G & F for a Bridge...

or....
C F G C F G for a verse...
Fmaj7 to Am7 then walk C down to G for the Chorus....
I'm working on this one myself...no bridge yet... but, hey....there really is no such thing as an original decent melody....they've all been used up

 

[keez]

Re Jazz Melody not happenening

There aint no short cuts and you cant just pull chord progressions out of the hat.
Solution : Study Jazz Harmony and Theory. It will take you 6 months to a year depending on how far you want to progress.
I did Rich Severson's course by co-respondence. It is a Jazz guitar course , but all you will need to know re jazz harmony could quite easily be translated to keyboard. There would surely be a Jazz Keyboard harmony course available.
Creating your jazz melodies have their foundations in harmony.
Just a thought.

 

[bsr2002]

I like jazz too...but I'm a rock keyboardist. To learn different chord progressions I will listen to some old Maynard Ferguson or The Rippingtons(Progressive Jazz), or Rush or even the group YES. these Super groups of the late 70's and early 80's were very creative as far as chord progressions, key changes and time signature changes in thier music. Lot's of stuff you can do to change up.

 

[octa b nuova]

THE jazz progression

You may want to try ii - V - I. That is the most common jazz progression. It is as common in jazz as I IV V in blues, and you can alter it to no end. Also, jazz is built on 4 tone chords: in addition to I, III, and V notes, you add a bVII (a dominant 7). These tones are the starting point for 9 chords, 11's, 13's etc.

Harmonicly, a tune might look like Am7, D7, G7, G7.

In Latin jazz, a real basic prog: G7, C7, G7, Am7, Abm7, G7. (the Abm7 acts as a substitute for the D7.)

Hope that helps.

Then, just write lyrics about love in Paris and you are on your way.

 

[jfrog]

Re: THE jazz progression

You may want to try ii - V - I. That is the most common jazz progression. It is as common in jazz as I IV V in blues, and you can alter it to no end. Also, jazz is built on 4 tone chords: in addition to I, III, and V notes, you add a bVII (a dominant 7). These tones are the starting point for 9 chords, 11's, 13's etc.

Harmonicly, a tune might look like Am7, D7, G7, G7.

Good answer...I'm sorta kinda at the same point...

so here's a follow-up question: What kind of scale(s) would you play over that? In general, which scales work best over jazz? (I realize that jazz isn't as easy to define as say, blues, but generalize)

 

[octa b nuova]

jazz scales

jfrog -

well, you've reached the limits of my knowledge as far as jazz. scales that emphasize the 7b and 9 are used a bit. but I don't want to say much more; maybe someone else can build on what I said and we could have us a humdinger of a jazz discussion!

 

[Fartone]

Gotta learn theory

Jazz:

Get a book on "harmony and music theory" and study it.

The topic is dry and confusing at first, but there ain't no shortcuts. You have to put in the time.

As you read the stuff, you MUST solidify and internalize your new knowledge by applying it EVERY DAY. Here's how:

First, LISTEN to some music that you consider "jazzy". Even a pop or rock or TV commercial that has a "jazzy" sound. Analyze that music into its components. You must constantly strive to understand music in terms of its basic harmony elements. You become a jazz player by distilling down music to its basic structure, then re-building it with your own decoration. Distilling is not foreign to the jazz musician: you can also distill your own bourbon if you want to emulate the original jazzists!

Next, PLAY a short jazzy ii-V-I progression (for example, Ami7, D7, GMaj7). Use that as a basis for exploring the dissonant tones of jazz by employing substitutions. Some possibilities are:

Ami7b5, D7b9, GMaj7

Ami7, G#, GMaj7

D7sus4, Dmi11, G

Cmi6, Ab6, GMaj7

Ebmi7b5, Ab7b9, DbMaj7

As wacky as those examples may appear to be, don't be intimidated by the letters and numbers. They are all just "jazzy" ways of playing the standard ii-V-I progression. In fact, each of those examples can be thought of as: Ami, D7, G with extensions. However, it is precisely those non-scale extensions that make plain chords turn into "jazz."

And that leads to the topic of SCALES. Jazz is about simultaneously embracing and ignoring scales. It's all about scales, yet nothing to do with them! I like to use scales as a way of describing what is played, rather than prescribing what to play. You need to master various patterns of notes on your instrument in the form of scales, arpeggios, and intervals. Scales are but one pattern, and are used as a framework for developing more complicated melodic lines. But that is just the technical aspect of jazz. And if you are merely a technical whiz, you'll succeed in boring your audience unless you shape that wizardry with ideas.

Lastly, IDEAS come from listening. Listen to others AND to yourself. Don't pick one dude to copy, nor one genre to specialize. Your success as a jazz musician will come from your ability to blend styles into your own unique sound which captures and entertains!

Now, 'scuse me while I enjoy my [freshly distilled] bourbon!

/F

 

[dgatwood]

If you haven't already seen them, there are a lot of CDs out there designed to help you with improv. The best advice I can give is to get one or two and experiment. Try singing a line rather than playing it, as you're more likely to do something that flows well when singing than playing.