MALAIMPRO ENG

36,90

INSIDE THE COURSE YOU WILL FIND:

  • 25 video lessons divided in 9 modules
  • e-book
  • Backing tracks
  • email support
  • money back guarantee
  • possibility to see all lessons in streaming
  • possibility to download all lessons
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Description

MALAIMPRO

25 VIDEO LESSONS COMPLETEY DEDICATED TO THE IMPROVISATION.
FROM THE FUNDAMENTALS TO CREATE YOUR SOLO ON GREAT STANDARDS SUCH AS “SO WHAT” AND “CANTALOUPE ISLAND”

INSIDE THE COURSE YOU WILL FIND:

  • 25 video lessons divided in 9 modules
  • e-book
  • Backing tracks
  • email support
  • money back guarantee
  • possibility to see all lessons in streaming
  • possibility to download all lessons

25 VIDEO LESSONS COMPLETEY DEDICATED TO THE IMPROVISATION. FROM THE FUNDAMENTALS TO CREATE YOUR SOLO ON GREAT STANDARDS SUCH AS “SO WHAT” AND “CANTALOUPE ISLAND”

MODULE 1

  •  LESSON 1: Let’s start by playing a major scale (or an arpeggio, or a pentatonic scale…), and moving the starting note.
  • To begin with, we are going to start it on the third sixteenth note
  • Don’t forget to use both long and short notes.
  • LESSON 2: Let’s make it more difficult: let’s start on the second sixteenth note
  •  LESSON 3: Now, let’s start on the fourth sixteenth note.

MODULE 2

  •  LESSON 4: Let’s start moving the starting point of our phrases.
  • We are going to build up a “rhythmic vocabulary” in order to be able to combine our musical phrases.
  • LESSON 5: Now, we’re going to combine them, developing a more complex rhythm.

MODULE 3

  •  LESSON 6: Let’s combine our rhythmic patterns, and play over these 2 chords using ONLY the tetrad notes.
  •  LESSON 7: Now, we’re going to use ONLY the notes from the C and F pentatonic scales.
  •  LESSON 8: And finally, we’re going to play ONLY the notes of the C major and F lydian scales (which, as I said before, are the same notes of the C major scale, but starting on the note F).
  •  LESSON 9: And now? It’s time to MIX IT ALL UP… in an orderly fashion (for now).
  • We’re going to play the fist phrase using the notes of the tetrad; the second one using the pentatonic scale in both chords; the third phrase, using the major scale; and the fourth phrase, using the pentatonic… let me give you an example!
  • How about you? Post your video to the FB group Malamanbasslessons, #malaimpro

MODULE 4

  •  LESSON 10:First, we will use ONLY the notes of the tetrad.
  •  LESSON 11: Then we’ll use ONLY the notes of the Dm pentatonic scale (i.e., the notes of its relative major scale: F), on the chords of both.
  •  LESSON 12: Now it’s time to play ONLY the notes of D dorian and G mixolydian (which of course are the same notes of C major, but starting respectively on D and G)
  •  LESSON 13: Finally, let’s mix it all up in a different way…On the first chorus we’ll use tetrads; on the second, the pentatonic; and modes on the third. 
  • Make a video of your improvisation and post it to the FB group Malamanbasslessons, #malaimpro

MODULE 5

  •  LESSON 14: Even eighths – or swing feel.
  • Up to now, we’ve been working on a straight eighths rhythm, without adding any swing to it.
  • Now I’m going to let you hear the difference between straight eighths and swung eighths.
  • In the first case, the quarter note is divided into two parts: the beat and the off-beat.
  • In the second case, the quarter note is divided into three even sub-beats (a triplet).
  • If we hit the first and the last note of the triplet, omitting the second one, we will get swung eighths.
  • Hear the difference on this major scale: I’m going to play it, first with straight eights, then with swung eighths.
  •  LESSON 15: Let’s take our rhythmic patterns and turn them into swing!

MODULE 6

  •  LESSON 16:SO WHAT!!!
  • Let’s improvise over something that we could actually have to play at a gig or a jam session.
  • This song has two chords:Dm7 and Ebm7.
  • What scales shall we use?
  • My suggestion is to start using
  • – Dm dorian (derived by C major)
  • – Ebm dorian (derived by Db major)
  • Let me improvise something for you, using everything we’ve seen, and then we will go through it together.

MODULE7

  •  LESSON 17: Let’s try and use the notes of the arpeggios (and their inversions) of every chord that derives from the harmonization of the dorian mode. We’ll do it in Dm and Ebm dorian (which correspond to the harmonization of C major and Db major).
  • I’m going to schematize it for you!
  •  LESSON 18: Now we’ll play the same rhythmic pattern using the notes of the pentatonic minor scales of Dm (the relative minor of F major) and Ebm (the relative minor of Gb major).
  •  LESSON 19: GREAT! Now, let’s use some intervals… we are going to use the scale, phrasing by thirds, fourths, fifths, sixths and sevenths!
  • I’m going to play some of the transcribed examples for you.
  •  LESSON 20: I’m going to play a short solo, which you will also find transcribed.
  • Your job is to learn it and post your video to the FB group Malamanbasslessons, #malaimpro

MODULE8

  •  LESSON 21:Combining pentatonic scales:
  • As we know, the major scale contains 3 different major pentatonic scales (and their relative minor scales):
  • one on the first degree, one on the IV and one on the V.
  • E.g.: The C major scale contains:
  • 1) C major pentatonic scale (A minor pentatonic scale): C-D-E-G-A
  • 2) F major pentatonic scale (D minor pentatonic scale): F-G-A-C-D
  • 3) G major pentatonic scale (E minor pentatonic scale): G-A-B-D-E
  • These scales can be combined throughout our chord progression; i.e., we could repeat the same phrase using another pentatonic scale: we would thus obtain similar phrares, with a slightly different flavour and a pentatonic approach.
  • Here’s an example on “our friend” Dm7: I’m going to play the same phrase, using a different pentatonic scale.
  • Your job is to create your solo following the scheme I’ve used.
  • Please post your video to the FB group Malamanbasslessons, #malaimpro

MODULE 9

  •  LESSON 22: Fm dorian derives from Eb major, therefore our pentatonic scales will be:
  • Eb major pentatonic (or Cm pentatonic): Eb-F-G-Bb-C
  • Ab major pentatonic (or Fm pentatonic): Ab-Bb-C-Eb-F
  • Bb major pentatonic(or Gm pentatonic): Bb-C-D-F-G
  •  LESSON 23:Db7 mixolydian derives from Gb major; our notes will be Db-Eb-F-Gb-Ab-Bb-Cb
  • Try using intervals or fractions of the scale, with the three-note pattern we’ve just studied.
  •  LESSON 24: Dm dorian derives from C major, so we will have to use the following pentatonic scales:
  • – C major pentatonic (A minor pentatonic): C-D-E-G-A
  • – F major pentatonic (D minor pentatonic): F-G-A-C-D
  • – G major pentatonic (E minor pentatonic): G-A-B-D-E
  •  LESSON 25: Now, let’s put all the chords together.
  • Learn the solo I have played and transcribed!
  • Post your video to the FB group Malamanbasslessons, #malaimpro
  • Finally, build your own solo with all the elements we’ve learned in these lessons, and post it to the FB group Malamanbasslessons, #malaimpro