AP 703 Gospel Jazz Improvisation Lesson 1€¦ · AP 703 Gospel Jazz Improvisation Lesson 1 Then go to F and do the same thing. NEXT, once you have mastered this, practice playing

AP 703 Gospel Jazz Improvisation Lesson 1 Welcome to AP 703 Gospel Jazz Improvisation!

Improvisation is what everyone wants to learn to do. Everyone wants to learn how to solo and do fills and runs that sound cool, right? The cool part about it is that it is actually pretty simply once you learn the tricks. This course is going to teach you the “magic scales and tricks” that will teach you to improv. First of all, let me say that improvisation is scenariospecific. You will probably not use the same fill or run in church on Sunday morning that you may use while you are jamming with your friends. Not that it is a bad or even “worldly” fill or run, but improvisation has to be done “tastefully.” If our playing is so full of fills and runs that it is distracting to the hearers and not taking them to a place or worship or praise, we may want to reevaluate our playing. Remember, our playing should be worship to God, giving him the glory that He deserves (not us). So with this little introduction, let’s get started! The NUMBER ONE most important thing to know to do improvisation is the MAJOR SCALE. If we can’t solo with the major scale, then we can’t solo! Soloing is all about taking notes and making rhythmic and melodic phrases out of those notes, depending on what chord we are on. Therefore, we also have to know WHAT SCALE TO USE. Therefore, we must know, WHAT KEY we are playing in, but even this is not enough as certain chords will change and we will have to change the scale to match the chord we are on. However, in most songs and on most chords, we will be using the Major Scale or a Mode derived from it (more about this to come). So let’s make sure we know our MAJOR SCALES! Now, if you are like most, you KNOW the notes in the major scale, but you cannot use the scale in a rapid ascending or descending run. Also, almost anybody can play the major scale over one octave, however most cannot play it over two. If you cannot already, I would advise practicing each Major Scale over two octaves both ASCENDING & DESCENDING. Once you have mastered this, practice playing it with a corresponding MAJOR 9th chord in your Left Hand. For instance, hit the Cmaj9 in your left hand with the first C note in your right hand as you begin playing the major scale over two octaves.

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AP 703 Gospel Jazz Improvisation Lesson 1 Then go to F and do the same thing. NEXT, once you have mastered this, practice playing the root note (a C note for instance) in your Left Hand together with the C note in your Right Hand as you begin playing the major scale up. Then play the Cmaj9 in Left Hand as your right hand hits the G note in your Right Hand. (See the diagram below or on the next page). Then play the root note again (C) as your Right Hand hits the second D note. Then play the Chord again as your Right Hand hits the A note. This will not only teach you how to fill in with your Right Hand, as your Left Hand is doing chords, it will help you learn how to play the major scale as a fill.

Root Chord Root Chord C C D E F G A B C D E F G A B C

fingering

1 2 3 1 2 3 4 1 2 3 1 2 3 4 5

CHEAT SHEET FOR MAJOR SCALES

Root Chord Root Chord C C D E F G A B C D E F G A B C

fingering

1 2 3 1 2 3 4 1 2 3 1 2 3 4 5

F F G A Bb C D E F G A Bb C D E F fingering

1 2 3 4 1 2 3 1 2 3 4 1 2 3 4

Bb Bb C D Eb F G A Bb C D Eb F G A Bb fingering

2 1 2 3 1 2 3 4 1 2 3 1 2 3 4

Eb Eb F G Ab Bb C D Eb F G Ab Bb C D Eb fingering

2 1 2 3 4 1 2 3 1 2 3 4 1 2 3

Ab Ab Bb C Db Eb F G Ab Bb C Db Eb F G Ab fingering

2 3 1 2 3 1 2 3 4 1 2 3 1 2 3

Db Db Eb F Gb Ab Bb C Db Eb F Gb Ab Bb C Db fingering

2 3 1 2 3 4 1 2 3 1 2 3 4 1 2



AP 703 Gospel Jazz Improvisation Lesson 1

Gb Gb Ab Bb B Db Eb F Gb Ab Bb B Db Eb F Gb fingering

2 3 4 1 2 3 4 2 3 4 1 2 3 4 5

B B C# D# E F# G# A# B C# D# E F# G# A# B fingering

1 2 3 1 2 3 4 1 2 3 1 2 3 4 5

E E F# G# A B C# D# E F# G# A B C# D# E fingering

1 2 3 1 2 3 4 1 2 3 1 2 3 4 5

A A B C# D E F# G# A B C# D E F# G# A fingering

1 2 3 1 2 3 4 1 2 3 1 2 3 4 5

D D E F# G A B C# D E F# G A B C# D fingering

1 2 3 1 2 3 4 1 2 3 1 2 3 4 5

G G A B C D E F# G A B C D E F# G fingering

1 2 3 1 2 3 4 1 2 3 1 2 3 4 5

Now let’s take these scales and have some fun with them. We’ll start with some really basic stuff. Most scales are derived from the major scale, but we are going to try to stick to just major scale stuff here. Try playing these fills with different rhythms and in different tempos. We recommend watching the video that goes with this lesson to hear and get the “feel” for the different fills played here! These fills sound better if you play a Cmaj7 (CEGB) or Cmaj9 (EGBD) in the left hand, especially if you alternative between two measures of Cmaj9 and then two measures of Fmaj9. EXERCISE SONG: Cmaj9 / / / Cmaj9 / / / Fmaj9 / / / Fmaj9 / / / Example Fill #1: C D E F G Example Fill #2: GABCD Example Fill #3: A B C Example Fill #4: A B C D E Example Fill #5: D E F Example Fill #6: AGFED



AP 703 Gospel Jazz Improvisation Lesson 1 Example Fill #7: Descending alternating notes (CABGAFGEFDECDB, REPEAT) Play this fill going down in the right hand starting high on the piano. You can also play it ascending. Example Fill #7: Ascending sixth notes (ECFDGEAFBGCADB, REPEAT) Play these in groups of two notes going up the piano. You can also play them descending. Example Fill #8: Ascending Ditones (CEDFEGFAGBACBD, REPEAT) You can play these going up the piano. Try them going down too! Example Fill #9: Ascending Fourths (GCADBECFDGEAFB, REPEAT) You can play these going up the piano. Try them going down too! Example Fill #10 Ascending Fourth Notes (GCADBECFDGEAFB, REPEAT) You can play these going up the piano. Try them going down too! BE SURE TO PRACTICE THESE FILLS AND RUNS IN EVERY KEY! I like to use the CIRCLE of 4ths to do this. CFBbEbAbDbGbBEADG EXERCISE SONGS: C / / / C / / / F / / / F / / / G / / / G / / / F / / / F / / / C EXERCISE SONGS: C / / / Am / / / F / / / G / / / C / / / Am / / / F / / / G / / / C EXERCISE SONGS: Cmaj9 / / / Cmaj9 / / / Fmaj9 / / / Fmaj9 / / / Dm9 / / / Dm9 / / / G2 / / / G2 / / / Now let’s go to the next page and practice some REAL church songs using these concepts. Remember, you can use the major scale (or the notes of it) of whatever key the song is in over ALMOST every chord as a fill or run. There are exceptions to this rule however! If the chord has notes in it that are NOT found naturally in the major scale, this will not work. You will have to adjust your scale, OR wait until we go over the different scales in the upcoming lessons!



AP 703 Gospel Jazz Improvisation Lesson 1 C Anointing

Em7 / Am9 / Dm7 / G2 / Em7 / Am9 / Dm7 / G2 / Anoin ting fall on me a noin ting fall on me,

Gm9 / C9 / Fmaj7 / Bb9 Bb9/Ab C/G A7b9 Dm7 G2 C / F/G / Let the power of the Holy Ghost fall on me anoin ting fall on me.

F Falling In Love With Jesus

F2 / / / Eb2/F / F2 / Bbmaj9 / F2/A / Gm9 / C2 C#dim7 Falling in love with Je sus, falling in love with Jesus,

Dm9 / / / Eb2/F / F2 / Bb2 / Bb2/C / F2 / Bb2/D C2/E Falling in love with Je sus was the best thing I’ve ever, ever done.

V1: F2 / / / Eb2/F / F2 / Bbmaj9 / F2/A / Gm9 / C2 C#dim7

In His arms I feel protected, in His arms never disconnected,

Dm9 / / / Eb2/F / F2 / Bb2 / Bb2/C / F2 / Bb2/D C2/E In His arms I feel protected, there’s no place I’d rather, rather be.

A Break Every Chain (Tasha Cobbs) Intro: F#m7 / D2 / A2 / E2 /

Ch F#m7 / D2 / A2 / E2 /

There is power in the name of Jesus (3x) F#m7 A2 D2 F#m7 A2 / E2 /

To break every chain, break every chain, break every chain (2x)

V1 F#m7 / D2 / A2 / E2 / There's an army rising up (3x)

F#m7 A2 D2 F#m7 A2 / E2 / To break every chain, break every chain, break every chain (2x)

Music: F#m7 A2 D2 F#m7 A2 / E2 / F#m7 A2 D2 F#m7 A2 / E2 /

Br F#m7 A2 D2 F#m7 A2 / E2 /

I hear the chains fal ling (2x)



AP 703 Gospel Jazz Improvisation Lesson 1 Goals & Homework

GOALS

1) Learn to play the major scales in all 12 keys both ASCENDING and DESCENDING over TWO octaves using the correct fingering.

2) Practice the 10 example fills by themselves in the right hand (or in both hands if desired for practice). 3) Practice the 10 example fills using chords in the left hand (see the exercise song that is made up of Cmaj9

and Fmaj9). 4) Practice all the Exercise Songs in the lesson. 5) Practice making up your own fills and using the ones taught in the lessons in the real church songs at the

end of the lesson.

QUESTIONS

1) What is the NUMBER ONE most important thing to know to do improvisation? 2) Almost anyone can play a major scale over ____ octave, but most people cannot play it over ____

octaves. 3) It is important to learn to play the major scale both ____________ (going up) and ______________ (going

down). 4) Half of the major scales use the fingering 1 2 3 __ __ __ __ __. 5) What are the notes in the Gb major scale? 6) What are the notes in the B major scale? 7) What are the notes in the F major scale? 8) We can always use the major scale (or the notes in it) as a fill or run no matter which chord we are on, as

long as we use the major scale of the key that we are in. True or False?




The SECOND most important thing to know how to do improvisation is the PENTATONIC SCALE. This is literally a magic scale that almost guarantees you not to hit a wrong not when you use it! The trick is simply knowing where to use it and when to use it. But first, let’s LEARN it! The Pentatonic Scale is made up of five different notes. (The word “Penta” means “five” and “tonic” means “tone” or “note.”) This scale is the secret to playing fills on a chord and never hitting a wrong note. It is simple. We take the I, the II, the III, the V, and the VI of the major scale to get the notes. For example: The C major scale is C D E F G A B C. So the C Major Pentatonic scale would be C D E G A C (we end on a C)

1 2 1 2 3 5 (fingering) The F major scale is F G A Bb C D E F So the F Major Pentatonic scale would be F G A C D F (we end on an F)

1 2 1 2 3 5 (fingering) The G major scale is G A B C D E F# G So the G Major Pentatonic scale would be G A B D E G (we end on a G)

1 2 1 2 3 5 (fingering) Now let’s learn it in each key. Use the fingering that is most comfortable for you. A general rule is to keep your thumb off the black notes. Recommended fingering is below. (1 = thumb) G A B D E G C D E G A C F G A C D F 1 2 1 2 3 5 1 2 1 2 3 5 1 2 1 2 3 5 Bb C D F G Bb Eb F G Bb C Eb Ab Bb C Eb F Ab 2 1 2 1 2 3 2 1 2 3 1 2 2 3 1 2 1 2 Db Eb F Ab Bb Db Gb Ab Bb Db Eb Gb B C# D# F# G# B 2 3 1 2 3 4 2 3 4 2 3 4 1 2 3 2 3 4 E F# G# B C# E A B C# E F# A D E F# A B D 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 LEARN THIS SCALE ASCENDING AND DESCENDING OVER TWO OCTAVES IN EACH KEY. When playing it over two octaves, simply start again on the first note when you repeat. For example: C D E G A C D E G A B C (don’t land on the C with your 5 or pinkie until your are ending)

1 2 1 2 3 1 2 1 2 3 4 5 (fingering is the same whether ascending or descending)



AP 703 Gospel Jazz Improvisation Lesson 2 Great, so where do we use them? It’s simple! Anytime you have a C major chord in the right hand, use the notes in the C major pentatonic scale as some sort of a fill. Anytime you have an F major chord in the right hand, use the notes in the F major pentatonic. Anytime you have a G major chord in the right hand, use the notes in the G major pentatonic. Think about how this opens you up for soloing. Am7, C/E, Fmaj9, C/G, Dm11… All of these chords have C major chords in the right hand. This means you could use the notes of the C major pentatonic scale as fills! And just like the major scale, we can takes bits and pieces of this scale and mix it up to create entire fills and sounds. In other words, we don’t just have to play it as a scale! Now listen to the Tracks Provided and try to play the songs below. The notes in the parentheses ( ) are simply to be played by the right hand as a fill. Listen to the Track to get a feel for this. TRACK 1a – Major Pentatonic Song 1a in C – Ascending/Slow C / (C D E G A C) F / (F G A C D F) G / (G A B D E G) C TRACK 1b – Major Pentatonic Song 1b in C – Descending/Slow C / (C A G E D C) F / (F D C A G F) G / (G E D B A G) C TRACK 2a– Major Pentatonic Song 2a in C – Ascending/Fast C / (C D E G A C) F / (F G A C D F) G / (G A B D E G) C TRACK 2b – Major Pentatonic Song 2b in C – Descending/Slow C / (C A G E D C) F / (F D C A G F) G / (G E D B A G) C *Of course, these are only two ways that we can play and use the Major Pentatonic Scale. *Now why don’t you go try to play them some other ways and then use them in some songs that you have learned. *Remember, you do not have to play them in this order. Mix it up!



AP 703 Gospel Jazz Improvisation Lesson 2 Example Fill #1: G A C Example Fill #2: Ascending Fill Example Fill #3: Descending Fill Example Fill #4: E G A C D E Example Fill #5: G A C D E G Example Fill #6: D E G A C D Example Fill #7: Descending alternating notes (ECDACGAEGD, REPEAT) Play this fill going down in the right hand starting high on the piano. You can also play it ascending. Example Fill #7: Alternating 4th notes (ADGC) Play these back and forth as a fill. BE SURE TO PRACTICE THESE FILLS AND RUNS IN EVERY KEY! I like to use the CIRCLE of 4ths to do this. CFBbEbAbDbGbBEADG EXERCISE SONGS: C / / / C / / / F / / / F / / / G / / / G / / / F / / / F / / / C EXERCISE SONGS: C / / / Am / / / F / / / G / / / C / / / Am / / / F / / / G / / / C EXERCISE SONGS: Cmaj9 / / / Cmaj9 / / / Fmaj9 / / / Fmaj9 / / / Dm9 / / / Dm9 / / / G2 / / / G2 / / / Now let’s go to the next page and practice some REAL church songs using these concepts. Remember, you can use the Pentatonic scale (or the notes of it) of whatever key the song is in over ALMOST every chord as a fill or run. The main rule is find the major chord in the right hand, and then use that Pentatonic scale!



AP 703 Gospel Jazz Improvisation Lesson 2 C Anointing










Ch F#m7 / D2 / A2 / E2 /






Br F#m7 A2 D2 F#m7 A2 / E2 /





GOALS

1) Learn to play the Pentatonic scale in all 12 keys both ASCENDING and DESCENDING over TWO octaves using the correct fingering.

2) Practice the example fills by themselves in the right hand (or in both hands if desired for practice). 3) Practice all the Exercise Songs in the lesson. 4) Practice making up your own fills and using the ones taught in the lessons in the real church songs at the

end of the lesson.

QUESTIONS

1) What is the SECOND most important scale to know to do improvisation? 2) It is important to learn to play the Pentatonic scale both ____________ (going up) and ______________

(going down). 3) What are the notes in the Gb Pentatonic scale? 4) What are the notes in the B Pentatonic scale? 5) What are the notes in the F Pentatonic scale? 6) When we have a C major chord in the right hand, which Pentatonic scale can we use for improvisation?




There are two more versions of the PENTATONIC SCALE that we are going to study. Remember, this is literally a magic scale that almost guarantees you not to hit a wrong when you use it! The trick is simply knowing where to use it and when to use it. As we know, the Pentatonic Scale is made up of five different notes. (The word “Penta” means “five” and “tonic” means “tone” or “note.”) This scale is the secret to playing fills on a chord and never hitting a wrong note. Last lesson we learned that we take the I, the II, the III, the V, and the VI of the major scale to get the notes. For example: The C major scale is C D E F G A B C. So the C Major Pentatonic scale would be C D E G A C (we end on a C)

1 2 1 2 3 5 (fingering) Another way to play the Pentatonic Scale is as a “Major Pentatonic Scale with b3.” So C Major Pentatonic Scale with b3 would be C D Eb E G A C (we end on C) Now let’s learn it in each key. Use the fingering that is most comfortable for you. A general rule is to keep your thumb off the black notes. Recommended fingering is below. (1 = thumb) G A Bb B D E G C D Eb E G A C F G AbA C D F 1 2 3 1 2 3 5 1 2 3 1 2 3 5 1 2 3 1 2 3 5 Bb C Db D F G Bb Eb F Gb G Bb C Eb Ab Bb B C Eb F Ab 2 1 2 1 2 3 4 2 1 2 1 2 1 2 2 3 1 2 3 1 2 Db Eb E F Ab Bb Db Gb Ab A Bb Db Eb Gb B C# D D# F# G# B 2 3 1 2 3 4 2 2 3 1 2 3 4 2 1 2 1 2 3 4 1 E F# G G# B C# E A B C C# E F# A D E F F# A B D 1 2 1 2 1 3 1 1 2 3 4 1 2 1 1 2 3 4 1 2 1 LEARN THIS SCALE ASCENDING AND DESCENDING OVER TWO OCTAVES IN EACH KEY. When playing it over two octaves, simply start again on the first note when you repeat. For example: C D Eb E G A C D Eb E G A B C (don’t land on the C with your 5 or pinkie until you are ending)

1 2 3 1 2 3 1 2 3 1 2 3 4 5 (fingering is the same whether ascending or descending) The b3rd gives the scale a jazzy/bluesy/gospel sound to it.



AP 703 Gospel Jazz Improvisation Lesson 3 The same rules apply. Anytime you have a C major chord in the right hand, use the notes in the C major pentatonic with b3. Anytime you have an F major chord in the right hand, use the notes in the F major pentatonic with b3. Anytime you have a G major chord in the right hand, use the notes in the G major pentatonic with b3. This just gives you an opportunity to sound a little “jazzier” when you use this scale now.

GRACE NOTES

Another note that you can use as a passing note or “grace note” (think of the sound it makes when you slide off an Eb to an E or an Ab to an A). These are called grace notes. We can also use the b6 note to slide on to the 6th note of the Pentatonic Scale. This also adds a jazzy sound similar to how the b3 adds a jazzy sound when sliding off on to the 3rd or 2nd note of the scale. For example: DEbEG GAbAC. Practice this fill going up two octaves in every key. (C F Bb Eb Ab Db Gb B E A D G) IIbIIIIIIV to Vb6VII Just like the regular Pentatonic Scale, you can take these little tricks and mix them up and use them in different ways! Play around with making up your own fills with them. Example Fill #1: Eb D C A C Example Fill #2: EbEG EbEG Example Fill #3: EbEG EbEA EbEG EbEA Example Fill #4: AbAC AbAD AbAC AbAD Example Fill #5: G A C D Eb D C A C Example Fill #6: A Eb C



AP 703 Gospel Jazz Improvisation Lesson 3 IT’S A GOOD IDEA TO PRACTICE THESE FILLS AND RUNS IN EVERY KEY! (C F Bb Eb Ab Db Gb B E A D G)

Example Fill #1: b3 II I VI I Example Fill #2: b3IIIV b3IIIV Example Fill #3: b3IIIV b3IIIVI b3IIIV b3IIIVI Example Fill #4: b6VII b6VIII b6VII b6VIII Example Fill #5: V VI I II bIII II I VI I Example Fill #6: VI bIII I

KEY 1 (I) 2 (ii) 3 (iii) 4 (IV) 5 (V) 6 (vi) 7 (vii)

C C D E F G A B

Db Db Eb F Gb Ab Bb C

D D E F# G A B C#

Eb Eb F G Ab Bb C D

E E F# G# A B C# D#

F F G A Bb C D E

Gb Gb Ab Bb B Db Eb F

G G A B C D E F#

Ab Ab Bb C Db Eb F G

A A B C# D E F# G#

Bb Bb C D Eb F G A

B B C# D# E F# G# A#



AP 703 Gospel Jazz Improvisation Lesson 3 Now let’s go to the next page and practice some REAL church songs using these concepts. Remember, you can use the Pentatonic scale (or the notes of it) of whatever key the song is in over ALMOST every chord as a fill or run. The main rule is find the major chord in the right hand, and then use that Pentatonic scale! C Anointing










Ch F#m7 / D2 / A2 / E2 /






Br F#m7 A2 D2 F#m7 A2 / E2 /




AP 703 Gospel Jazz Improvisation Lesson 3 Here’s one more variation that we are going to leave you with on the Pentatonic Scale before we move on to some other really cool stuff. Try playing it with the b3 and leaving out the 3. For example, C Pentatonic with the b3 instead of the 3 would be as follows: C D Eb G A C Learn it ascending and descending over two octaves in every key!

G A Bb D E G C D Eb G A C F G Ab C D F Bb C Db F G Bb Eb F Gb Bb C Eb Ab Bb B Eb F Ab Db Eb E Ab Bb Db Gb Ab A Db Eb Gb B C# D F# G# B E F# G B C# E A B C E F# A D E F A B D Use whatever fingering is best for you. You can also use both hands to play this scale. (Watch the video for more info on how to do this). For example, Play C D Eb with the right hand, then play G A with the left hand and alternative going up the piano (or down). There are many ways to do this with this scale, as well as with the regular Pentatonic scale. HINT: This scale without the 3rd goes great with minor 6th chords!




GOALS

1) RECOMMENDED Learn to play the Pentatonic scale in all 12 keys both ASCENDING and DESCENDING over TWO octaves using both hands.

2) Learn to play the Pentatonic scale with b3 in all 12 keys ASCENDING over TWO octaves. 3) Practice playing grace notes. 4) Practice playing the new fills provided in all 12 keys. 5) Practice “Anointing,” “Falling In Love with Jesus” and “Break Every Chain” using the new fills and pentatonic

scale with b3.

QUESTIONS

1) What are the notes in the Gb Pentatonic scale with b3? 2) What are the notes in the B Pentatonic scale with b3? 3) What are the notes in the F Pentatonic scale with b3? 4) Using the grace notes such as the b3rd and b6th creates what kind of sounds?




Now we are going to learn the Minor Pentatonic Scale. This is one of the MOST powerful scales to use when soloing. It will give you that jazzy sound you are looking for. And it will almost guarantee you not to hit a wrong note! The trick is simply knowing where and when to use it. The Minor Pentatonic Scale is made up of five different notes just like the Major Pentatonic Scale (The word “Penta” means “five” and “tonic” means “tone” or “note.”) HOWEVER, this scale is used mainly over MINOR chords, but it can be used over other chords also. The Minor Pentatonic Scale is made up of the 1, b3, 4, 5, b7 For example: The C major scale is C D E F G A B C. So the C Minor Pentatonic scale would be C Eb F G Bb C

1 3 1 2 3 1 (fingering) Now let’s learn it in each key. Use the fingering that is most comfortable for you. A general rule is to keep your thumb off the black notes. Recommended fingering is below. (1 = thumb) G Bb C D F G C Eb F G Bb C F Ab Bb C Eb F 1 3 1 2 3 4 1 3 1 2 3 1 1 2 3 1 2 3 Bb Db Eb F Ab Bb Eb Gb Ab Bb Db Eb Ab B Db Eb Gb Ab 2 3 4 1 2 3 2 3 4 2 3 4 2 1 2 3 1 2 Db E Gb Ab B Db Gb A B Db E Gb B D E F# A B 2 1 2 3 1 2 2 1 2 3 1 2 1 2 1 2 3 1 E G A B D E A C D E G A D F G A C D 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 LEARN THIS SCALE ASCENDING AND DESCENDING OVER TWO OCTAVES IN EACH KEY. When playing it over two octaves, simply start again on the first note when you repeat. For example: C Eb F G Bb C Eb F G Bb C (don’t land on the C with your 5 or pinkie until you are ending)

1 3 1 2 3 1 3 1 2 3 1 (fingering is the same whether ascending or descending) With the minor pentatonic scale, Anytime you have a Cm, Cm7, Cm9, Cm11 chord in the right hand, use the notes in the C minor pentatonic. Anytime you have an Fm, Fm7, Fm9, Fm11 chord in the right hand, use the notes in the F minor pentatonic. And so on, the rule applies for EVERY key.



AP 703 Gospel Jazz Improvisation Lesson 4 For the next few fills, play a Cm or Cm7 in the left hand and then use these fills. Example Fill #1: G Bb C Example Fill #2: G Bb C Eb C Example Fill #3: C Eb F G F Eb C Example Fill #4: G Bb Eb C Example Fill #5: Eb C Bb C Example Fill #6: Bb C C Bb Eb C Now make up some of your own!



AP 703 Gospel Jazz Improvisation Lesson 4 BE SURE TO PRACTICE THESE FILLS AND RUNS IN EVERY KEY! (C F Bb Eb Ab Db Gb B E A D G) Be sure to use the correct minor chord in the left hand while you play them.

Example Fill #1: V bVII I Example Fill #2: V bVII I bIII I Example Fill #3: I bIII IV V IV bIII I Example Fill #4: V bVII bIII I Example Fill #5: bIII I bVII I Example Fill #6: bVII I I bVII bIII I


C C D E F G A B


D D E F# G A B C#

Eb Eb F G Ab Bb C D

E E F# G# A B C# D#

F F G A Bb C D E


G G A B C D E F#


A A B C# D E F# G#

Bb Bb C D Eb F G A




AP 703 Gospel Jazz Improvisation Lesson 4 This scale is mainly used as a soloing scale in minor key songs, but we also use it a lot in SHOUTING MUSIC. We also use it a lot on the vi chord, the ii chord and the minor i chord. In fact, we use it just about anywhere. For example, if you are in the key of Cm (and which is the same thing as the key of Eb in most cases), you can use the C Minor Pentatonic scale over just about every chord! Or let’s take “Falling In Love with Jesus” for example. On the Dm7 (your vi chord) you could use the notes of the D minor Pentatonic scale to do fills with it for a really “jazzy” sound! Now let’s go to the next page and practice some REAL church songs using these concepts. Remember, you can use the Pentatonic scale (or the notes of it) of whatever key the song is in over ALMOST every chord as a fill or run. The main rule is find the major chord in the right hand, and then use that Pentatonic scale!

Random Jazzy Song Fm Fm7 / / / Fm7 / / / Fm7 / / / Fm7 / / / Bbm7 / / / Bbm7 / / / Bbm7 / / / Bbm7 / / /

Fm7 / / / Fm7 / / / Fm7 / / / Fm7 / / / C7 / / / C7 / / / C7 / / / C7 / / / Fm7

C Anointing











AP 703 Gospel Jazz Improvisation Lesson 4 A Break Every Chain (Tasha Cobbs) Intro: F#m7 / D2 / A2 / E2 /

Ch F#m7 / D2 / A2 / E2 /






Br F#m7 A2 D2 F#m7 A2 / E2 /





GOALS

1) Learn to play the Minor Pentatonic scale in all 12 keys both ASCENDING and DESCENDING over TWO octaves using both hands.

2) Practice the Example Fills shown and make up your own! 3) Practice “Random Jazzy Song”, “Anointing”, “Falling In Love with Jesus” and “Break Every Chain” using the

new fills and pentatonic scale with b3.

QUESTIONS

1) What are the notes in the C Minor Pentatonic scale? 2) What are the notes in the F Minor Pentatonic scale? 3) What are the notes in the Ab Minor Pentatonic scale? 4) The Minor Pentatonic Scale is made up of the 1 b3 4 5 b7. True or False? 5) We use the notes of the Minor Pentatonic Scale over mainly minor chords, but we can use them over other

chords too. True or False?




Now we are going to learn another of my favorite scales and perhaps the most important one you will learn in this course: the Minor Blues Scale. This is one of the MOST powerful scales to use when soloing. It will give you that jazzy sound you are looking for. And will almost guarantee you not to hit a wrong note! The trick is simply knowing where and when to use it. And the EASY PART? The Minor Blues Scale is just like the Minor Pentatonic Scale, but it has a b5. These scales are used mainly over MINOR chords, but they can be used in many other places also. The Minor Blues Scale is made up of the 1, b3, 4, b5, 5, b7 For example: The C major scale is C D E F G A B C. So the C Minor Blues scale would be C Eb F Gb G Bb C

1 3 1 2 1 2 1 (fingering) Now let’s learn it in each key. Use the fingering that is most comfortable for you. A general rule is to keep your thumb off the black notes. G Bb C Db D F G C Eb F Gb G Bb C F Ab Bb B C Eb F Bb Db Eb E F Ab Bb Eb Gb Ab A Bb Db Eb Ab B Db D Eb Gb Ab Db E Gb G Ab B Db Gb A B C Db E Gb B D E F F# A B E G A Bb B D E A C D Eb E G A D F G Ab A C D LEARN THIS SCALE ASCENDING AND DESCENDING OVER TWO OCTAVES IN EACH KEY. When playing it over two octaves, simply start again on the first note when you repeat. For example: C Eb F Gb G Bb C Eb F G Bb C These scales are mainly used as soloing scales in minor key song, but we also use them a lot in SHOUTING MUSIC. We also use them a lot on the vi chord and the ii chord and the minor i chord. In fact, we use them just about anywhere. For example, if you are in the key of Cm (and which is the same thing as the key of Eb in most cases), you can use the C Minor Blues scale over just about every chord!



AP 703 Gospel Jazz Improvisation Lesson 5 Example Fill #1: F F# G C Example Fill #2: C Bb G Gb F Eb C Example Fill #3: Gb F Eb C Example Fill #4: GbC GC GC GbC GC GC Example Fill #5: F Gb G Gb F Eb C Example Fill #6: C Eb F Gb F Eb C Now make up some of your own!



AP 703 Gospel Jazz Improvisation Lesson 5 BE SURE TO PRACTICE THESE FILLS AND RUNS IN EVERY KEY! (C F Bb Eb Ab Db Gb B E A D G) Be sure to use the correct minor chord in the left hand while you play them.

Example Fill #1: IV #IV V I Example Fill #2: I bVII V #IV IV bIII I Example Fill #3: #IV IV bIII I Example Fill #4: #IVI VI VI #IVI VI VI Example Fill #5: IV #IV V #IV IV bIII I Example Fill #6: I bIII IV #IV IV bIII I


C C D E F G A B


D D E F# G A B C#

Eb Eb F G Ab Bb C D

E E F# G# A B C# D#

F F G A Bb C D E


G G A B C D E F#


A A B C# D E F# G#

Bb Bb C D Eb F G A




AP 703 Gospel Jazz Improvisation Lesson 5 Let’s take “Falling In Love with Jesus” for example. On the Dm7 (your vi chord) you could use the notes of the D minor blues scale to do fills with for a really “jazzy” sound! Now let’s go to the next page and practice some REAL church songs using these concepts. Remember, you can use the Pentatonic scale (or the notes of it) of whatever key the song is in over ALMOST every chord as a fill or run. The main rule is find the major chord in the right hand, and then use that Pentatonic scale!


Fm7 / / / Fm7 / / / Fm7 / / / Fm7 / / / C7 / / / C7 / / / C7 / / / C7 / / / Fm7

C Anointing



F Falling In Love With Jesus F2 / / / Eb2/F / F2 / Bbmaj9 / F2/A / Gm9 / C2 C#dim7 Falling in love with Je sus, falling in love with Jesus,









Ch F#m7 / D2 / A2 / E2 /






Br F#m7 A2 D2 F#m7 A2 / E2 /





GOALS

1) Learn to play the Minor Blues scale in all 12 keys both ASCENDING and DESCENDING over TWO octaves using both hands.

2) Practice the Example Fills shown and make up your own! 3) Practice “Random Jazzy Song”, “Anointing”, “Falling In Love with Jesus” and “Break Every Chain” using

the new fills and minor blues scale.

QUESTIONS

1) What are the notes in the C Minor Blues scale? 2) What are the notes in the F Minor Blues scale? 3) What are the notes in the B Minor Blues scale? 4) The Minor Blues Scale is made up of the 1 b3 4 b5 5 b7. True or False? 5) We use the notes of the Minor Blues Scale over mainly minor chords, but we can use them over other

chords too. True or False?




Now we are going to learn another SUPER IMPORTANT key to improvisation CHROMATIC NOTES. Some jazz musicians and teachers say that the Chromatic Scale is the most important one in soloing! The Chromatic Scale is simply playing every note ascending or descending. C Db D Eb E F Gb G Ab A Bb B (and repeat) I recommend playing this scale going up and down the keyboard over at least TWO octaves. Start off SLOW and then speed it up. Here is some recommend fingering below: Fingerings for scales, arpeggios, and more generally passages are principally based on groups or clusters. Clusters are based on the notes lying under one hand (or fist, as Beethoven termed it), a thumb transition usually defines a new cluster. The more clusters in a passage, the higher the possible resolution for articulation; the fewer, the higher the possible speed. Seek to understand the underlying fingering principles of clusters and apply accordingly. Chromatic scales fingerings: The obvious: R.h. up starting on C: 1313 123 1313 123 13123 13131 c (2 instead of 1) R.h. down starting on c: 21 3131 321 31321 3131 321 313 C The refined: R.h. up starting on C: 1213 123 1213 12313 123 1213 1 c (23 instead of 12) R.h. down starting on c: 21 3121 321 31321 3121 321 313 C Fingers 2 and 3 on black keys clusters, e.g. c#d#. The excellent: R.h. up starting on C: 1234 123 1234 123 123 1234 123 c R.h. down starting on c: 4321 4321 321 321 4321 321 432 C (1 instead of 4) The extremely fast: R.h. up starting on C: 1234 12345 123 1234 12345 123 c R.h. down starting on c: 4321 54321 4321 321 54321 432 C THE KEY IS TO DO WHAT IS MOST COMFORTABLE FOR YOU AND WHAT WORKS FOR YOU. AS LONG AS YOU CAN DO IT FAST WITHOUT HITTING WRONG NOTES THAT IS WHAT MATTERS



AP 703 Gospel Jazz Improvisation Lesson 6 Example Fill #1: Bb A Ab G Example Fill #2: Eb D Db C Example Fill #3: G Gb F E Eb Example Fill #4: Bb A Ab G Gb F Example Fill #5: F Gb G Ab A Bb Example Fill #6: D Db C B Bb Example Fill #7: G Ab A Bb Now make up some of your own!


Fm7 / / / Fm7 / / / Fm7 / / / Fm7 / / / C7 / / / C7 / / / C7 / / / C7 / / / Fm7

C Anointing



F Falling In Love With Jesus F2 / / / Eb2/F / F2 / Bbmaj9 / F2/A / Gm9 / C2 C#dim7 Falling in love with Je sus, falling in love with Jesus,









Ch F#m7 / D2 / A2 / E2 /






Br F#m7 A2 D2 F#m7 A2 / E2 /





GOALS

1) Learn to play the Chromatic scale in all 12 keys both ASCENDING and DESCENDING over TWO octaves using both hands (not at the same time).

2) Practice the Example Fills shown and make up your own! 3) Practice “Random Jazzy Song”, “Anointing”, “Falling In Love with Jesus” and “Break Every Chain” using

the new fills and minor blues scale.

QUESTIONS

1) What are the notes in the C Chromatic scale? 2) The Chromatic Scale is made up of every note on the keyboard. True or False? 3) We can use the notes of the Chromatic Scale to fillin and solo anywhere it sounds good. True or False?




The next thing we are going to learn is an awesome new scale we can use if we have a dominant 7th or dominant 9th chords. This is called the MIXOLYDIAN SCALE. We mainly use this scale on the V chord. The only difference between it and the major scale is that it has a b7. So if we are in a key where C is one of the “natural notes” found in the major scale, we could probably use the C Mixolydian Scale or the notes of the C Mixolydian Scale to solo with and fillin it. So let’s go ahead and learn the Mixolydian scale. This is also known as the MIXOLYDIAN MODE. Why? Because it is just a different “mode” of the major scale. In fact If we are in the key F (where C is the V chord), the notes of C Mixolydian are the same notes as the F major scale. However, we are just starting it on the C note. For example: C Mixolydian Notes = C D E F G A Bb C F Major Scale Notes = F G A Bb C D E F See there? The same exact notes. So the Mixolydian is the 5th mode of the Major Scale. (That’s why we usually use it on our V chord). Let’s go ahead and learn this scale in every key. RULE: Only use this scale if the dominant 7th or 9th is a note found in the natural major scale of that key. For example, it would not work on an Ab7 if you are playing a song in the key of C, as there is no Ab note in the key of C. We have another scale we use if the note is not found in the major scale of the key you are playing in. (HINT: All you have to do is play the Mixolydian but sharp the IV, we’ll talk more about that later.)’




CHEAT SHEET FOR Mixolydian (V chord) SCALES

Root Chord Root Chord C C D E F G A Bb C D E F G A Bb C

Finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 F F G A Bb C D Eb F G A Bb C D Eb F

Finger 1 2 3 4 1 2 3 1 2 3 4 1 2 3 4 Bb Bb C D Eb F G Ab Bb C D Eb F G Ab Bb Finger 2 1 2 3 1 2 3 4 1 2 3 1 2 3 4 Eb Eb F G Ab Bb C Db Eb F G Ab Bb C Db Eb

Finger 2 1 2 3 4 1 2 3 1 2 3 4 1 2 3 Ab Ab Bb C Db Eb F Gb Ab Bb C Db Eb F Gb Ab Finger 2 3 1 2 3 1 2 3 4 1 2 3 1 2 3 Db Db Eb F Gb Ab Bb B Db Eb F Gb Ab Bb B Db Finger 2 3 1 2 3 4 1 2 3 1 2 3 4 1 2 Gb Gb Ab Bb B Db Eb E Gb Ab Bb B Db Eb E Gb Finger 2 3 4 1 2 3 4 2 3 4 1 2 3 4 5 B B C# D# E F# G# A B C# D# E F# G# A B

Finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 E E F# G# A B C# D E F# G# A B C# D E

Finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 A A B C# D E F# G A B C# D E F# G A

Finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 D D E F# G A B C D E F# G A B C D

Finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 G G A B C D E F G A B C D E F G

Finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 www.ApostolicPraiseSchoolofMusic.com :: www.ApostolicPSOM.com :: Apostolic Praise©: Richard W. Smith


AP 703 Gospel Jazz Improvisation Lesson 7 Same as before with the major scale,I would advise practicing each Mixolydian V chord Scale over two octaves both ASCENDING & DESCENDING. Once you have mastered this, practice playing it with a corresponding Dominant 9th chord in your Left Hand. For instance, hit the C9 in your left hand with the first C note in your right hand as you begin playing the major scale over two octaves. Then go to F and do the same thing. NEXT, once you have mastered this, practice playing the root note (a C note for instance) in your Left Hand together with the C note in your Right Hand as you begin playing the major scale up. Then play the C9 in Left Hand as your right hand hits the G note in your Right Hand. (See the diagram below or on the next page). Then play the root note again (C) as your Right Hand hits the second D note. Then play the Chord again as your Right Hand hits the A note. This will not only teach you how to fill in with your Right Hand, as your Left Hand is doing chords, it will help you learn how to play the mixolydian V chord scale as a fill. Now let’s practice these KEY OF C fills below. Hit a C9 in your left hand and then play the fill below: Example Fill #1: Bb A G F E Example Fill #2: G Bb C Example Fill #3: F E Bb A C Example Fill #4: Bb A Bb C Example Fill #5: D F A Bb Example Fill #6: G A Bb Bb A G A C Example Fill #7: C E G Bb A G Now make up some of your own!




Random Jazzy Song C C9 / / / C9 / / / F9 / / / F9 / / /

C9 / / / C9 / / / G9 / / / G9 / / / C9

THERE IS NO TELLING

C9 / A9 / D9 / G9 / C – C7/E – F6 – F#dim7 – G7+5 / / / There is no telling, what God will do, if you believe,

C9 / A9 / D9 / / / G9 / Ab9 / G9 / / /

There is no telling what God will do, if you believe,

C6add9 / / / C9 / / / He’ll heal your body, he’ll save your soul,

F9 / / / F#dim7 / / / He’ll make you happy, he’ll make you whole,

C/G / A9 / D9 / G9 / C – C7/E – F6 – F#dim7 – G7+5 / / / There is no telling, what God will do, if you believe. (To end: C9)




GOALS

1) Learn to play the Mixolydian Jazz scale/mode in all 12 keys both ASCENDING and DESCENDING over TWO octaves using both hands.

2) Practice the Example Fills shown and make up your own! 3) Practice “Random Jazzy Song”, “There Is No Telling”, “If You Can Use Anything Lord” and “Can’t Nobody”

using the new fills and Mixolydian Scale.

QUESTIONS

1) What are the notes in the C Mixolydian scale? 2) What are the notes in the F Mixolydian scale? 3) What are the notes in the B Mixolydian scale? 4) The Mixolydian Scale is made up of the 1 2 3 4 5 6 b7. True or False? 5) We use the notes of the Minor Blues Scale mainly over dominant 7th and dominant 9th chords. True or

False?




The next thing we are going to learn is an awesome new scale we can use if we have an augmented, augmented 7th or augmented 9th chord. This is called the WHOLE TONE SCALE. It is made up of six notes. The I, II, III, #IV, #V and b7. It is called the Whole Tone Scale because it is made up of only whole tones (so there is a whole step between each note). For example: C Whole Tone Scale = C D E F# G# Bb finger 1 2 1 2 3 4 F Whole Tone Scale = F G A B C# Eb finger 1 2 3 1 2 3 This is one of the easiest scales as there are only 2 of them. Notice that the rest of the scales on the next page simply have the same notes as either of the first two C or F. Same as before with the major scale,I would advise practicing the Whole Tone Scale over two octaves both ASCENDING & DESCENDING. Practice it using the Circle of 4ths. (C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G) Once you have mastered this, practice playing it with a corresponding Augmented 9th chord in your Left Hand. For instance, hit the C7+5 in your left hand with the first C note in your right hand as you begin playing the major scale over two octaves. Then go to F and do the same thing. This will not only teach you how to fill in with your Right Hand, as your Left Hand is doing chords, it will help you learn how to play the Whole Tone Scale as a fill. Play the songs below using your left hand chords too!



AP 703 Gospel Jazz Improvisation Lesson 8 WHOLE TONE SCALES C D E F# G# A# C D E F# G# A# C

1 2 1 2 3 4 1 2 1 2 3 4 5

F G A B C# D# F G A B C# D# F

1 2 3 1 2 3 1 2 3 1 2 3

Bb C D E Gb Ab Bb C D E Gb Ab Bb

2 1 2 1 2 3 4 1 2 1 2 3 4

Eb F G A B Db Eb F G A B Db Eb

2 1 2 3 1 2 3 1 2 3 1 2 3

Ab Bb C D E Gb Ab Bb C D E Gb Ab

2 3 1 2 1 2 3 4 1 2 1 2 3

Db Eb F G A B Db Eb F G A B Db

2 3 1 2 3 1 2 3 1 2 3 4 5

Gb Ab Bb C D E Gb Ab Bb C D E Gb

2 3 4 1 2 1 2 3 4 1 2 3 4

B C# D# F G A B C# D# F G A B

1 2 3 1 2 3 1 2 3 1 2 3 4

E F# G# A# C D E F# G# A# C D E

1 2 3 4 1 2 1 2 3 4 1 2 3

A B C# D# F G A B C# D# F G A

1 2 3 4 1 2 3 1 2 3 1 2 3

D E F# G# A# C D E F# G# A# C D

2 1 2 3 4 1 2 1 2 3 4 1 2

G A B C# D# F G A B C# D# F G

1 2 1 2 3 1 2 3 1 2 3 4 5



AP 703 Gospel Jazz Improvisation Lesson 8 This scale is used over Augmented 5ths (C+5), Augmented 7ths (C7+5), and Augmented 9ths (C9+5). Exercise Song: For Augmented 7 th chords on VI (b7, 3 rd , #5) Imaj7 / / / VI7+5 / / / ii7 / / / V7+5 / / / Imaj7 / / / VI7+5 / / / ii7 / / / V7+5 / / / Imaj7

AMAZING GRACE

Imaj7 / / I7+5 / / IVmaj7 / / I / / Amazing grace, how sweet the sound, vi7 / / II7 / / V7 / / V7+5 / / That saved a wretch like me, Imaj7 / / I7+5 / / IVmaj7 / / I / / I once was lost, but now I’m found, vi7 / / V7 / / I / / V7+5 / / Was blind but now I see. (To end: I)



AP 703 Gospel Jazz Improvisation Lesson 8 The next scale we will study is called the DORIAN SCALE (ii mode of the major scale). HOWEVER, we need to think of it as the major scale with a b3 and b7. We can use this scale over minor 7th, minor 9th, minor 6th, and minor 6add9 chords as long as it sounds good. HINT: If you think about it, you are really just playing the I major scale over the ii chord, beginning on the ii note. For example: D is the ii chord of C. The Dorian minor scale used over Dm is simply the C major scale starting on the D note.

CHEAT SHEET FOR DORIAN (ii chord) SCALES

Root Chord Root Chord C C D Eb F G A Bb C D Eb F G A Bb C

finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 F F G Ab Bb C D Eb F G Ab Bb C D Eb F

finger 1 2 3 4 1 2 3 1 2 3 4 1 2 3 4 Bb Bb C Db Eb F G Ab Bb C Db Eb F G Ab Bb

finger 2 1 2 3 1 2 3 4 1 2 3 1 2 3 4

Eb Eb F Gb Ab Bb C Db Eb F Gb Ab Bb C Db Eb finger 2 1 2 3 4 1 2 3 1 2 3 4 1 2 3

Ab Ab Bb B Db Eb F Gb Ab Bb B Db Eb F Gb Ab finger 2 3 1 2 3 1 2 3 4 1 2 3 1 2 3

Db Db Eb E Gb Ab Bb B Db Eb E Gb Ab Bb B Db finger 2 3 1 2 3 1 2 3 4 1 2 3 1 2 3 Gb Gb Ab A B Db Eb E Gb Ab A B Db Eb E Gb finger 2 3 1 2 3 1 2 3 4 1 2 3 1 2 3

B B C# D E F# G# A B C# D E F# G# A B finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5

E E F# G A B C# D E F# G A B C# D E finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5

A A B C D E F# G A B C D E F# G A finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5

D D E F G A B C D E F G A B C D finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5 G G A Bb C D E F G A Bb C D E F G

finger 1 2 3 1 2 3 4 1 2 3 1 2 3 4 5



AP 703 Gospel Jazz Improvisation Lesson 8 Practice the Dorian Minor Scale over two octaves both ASCENDING & DESCENDING. Once you have mastered this, practice playing it with a corresponding MINOR 9th chord in your Left Hand. For instance, hit the Cm9 in your left hand with the first C note in your right hand as you begin playing the major scale over two octaves. Then go to F and do the same thing. Practice it using the Circle of 4ths. (C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G) Practice playing the Dorian Scale over your ii chord in the following songs.

RANDOM JAZZY SONG

ii9 / / / ii9 / / / vi9 / / / vi9 / / / (repeat)

SONG: IN THE PRESENCE OF JEHOVAH (C)

IV/V / / / Imaj9 / / / Imaj9 / / / iii7 / / / vi9 / / / In the presence of Jehovah,

ii9 / / / IV/V / / / I2 / / / IV/V / / / God Almighty, Prince of peace,

Imaj9 / / / Imaj9 / / / iii7 / / / vi9 / / / Troubles vanish, hearts are mended,

ii9 / / / IV/V / / / I2 / / / In the presence of the King. (To end: I)



AP 703 Gospel Jazz Improvisation Lesson 8 The next scale we will study is called the AEOLIAN (NATURAL) MINOR SCALE (vi mode of the major scale). HOWEVER, we need to think of it as the major scale with a b3, b6, and b7. We can use this scale over minor 7th and minor 9th chords as lon

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AP 703 Gospel Jazz Improvisation Lesson 1€¦ · AP 703 Gospel Jazz Improvisation Lesson 1 Then go to F and do the same thing. NEXT, once you have mastered this, practice playing