Turnarounds is an advanced course in the study of Jazz cadences both harmonically and linearly. We establish a clear model for understanding how to play over static chords, V7-I progressions, and full-length cadences in both major and minor keys. We draw on many Jazz masters to illustrate how to elegantly navigate the voice leading principals that your ear will naturally hear. You will learn many saxophone phrases and piano voicings, upper structure triads, chord substitutions and variations, voice leading guidelines, how to apply turnarounds to create forward motion even when they are not explicitly written, advanced hybrid picking guitar techniques to accommodate a sax-like articulation, and much more.
Course Highlights
What you will learn
In the first part of the course, we isolate each chord of the turnaround and explore how to address it individually before putting everything together over the complete progression. You will learn scale and arpeggio choices for major, minor, suspended dominant and altered dominant chords, as well as upper structure triads and extended arpeggios that open up more melodic and harmonic possibilities. From there, we connect these sounds through essential voice leading movements, shell voicings and rootless voicings, showing you how to create smooth and sophisticated comping over ii V I and ii V I VI progressions.
We then explore turnaround substitutions and variations, including major and minor approaches, altered dominants, enclosures and different ways of creating tension and resolution through the progression. Throughout the course, the concepts are demonstrated in multiple keys and in a variety of musical situations, helping you move beyond memorized shapes and understand how to apply the material anywhere on the fretboard.
The final demonstrations bring all of these ideas together through approaches inspired by players such as Charlie Parker, Joe Pass, Sonny Rollins, John Coltrane and many more, showing you how these concepts can be developed into a complete language for both improvisation and comping.
Full lesson preview: Lesson 14, ii-V7-I-VI7 comping in G with solo lines Demonstration
Lessons
01. Introduction (1m 03s)
02. Static Major 7th chord scale & Arpeggio choices (3m 42s)
03. Static Minor Chord Scale & Arpeggio Choices (3m 33s)
04. Static Suspended Dominant Chord Scale & Arpeggio Choices (4m 42s)
05. Altered V7 Scale & Arpeggio choices (3m 34s)
06. The 5 Major Upper structure triads over a Dominant chord (6m 13s)
07. Cascading extended Arpeggios over minor Major Suspended chords (3m 34s)
08. Cascading extended Arpeggios over Altered Dominant Chords (3m 48s)
09. The 3 essential Cadential Voice leading movements on a ii-V7-I (3m 15s)
10. Rootless ii-V7-I-VI7 swing comping in C (0m 49s)
11. Rootless ii-V7-I-VI7 swing comping in G (0m 49s)
12. Shell voicings ( 3rds & 7ths) as the launchpad for comping (3m 48s)
13. ii-V7-I-VI7 comping in C with solo lines Demonstration (1m 02s)
14. ii-V7-I-VI7 comping in G with solo lines Demonstration (1m 19s)
15. Turnaround Chord Substitution (1m 26s)
16. Turnaround Chord Substitutions Demonstration (0m 41s)
17. Minor Turnaround Variation (4m 15s)
18. V7-I in Bb Demonstration (0m 47s)
19. V7-I in Bb Demonstration (0m 37s)
20. i – V7 in Bb Minor Demonstration (0m 25s)
21. Bb Minor i-V7 Demonstration using Altered dominants (0m 21s)
22. i-V7 in Bb Minor using enclosures, Altered Dominants & Cascading Arpeggios (0m 34s)
23. Static Bbm7 Demonstration (0m 38s)
24. Bb7 Sus Demonstration Cascading extended Arpeggios & Mixing the Mixolydian with the Lydian Dominant sounds (1m 04s)
25. V7 Altered – i Minor 6 demonstration Coltrane inspired (1m 02s)
26. V7 Altered- I Maj7 Demonstration #1 (0m 34s)
27. V7 Altered- I Maj7 Demonstration #2 (0m 47s)
28. ii- V7 Alt- IMaj7- VI7 Alt Demonstration in Eb #1 (0m 49s)
29. ii- V7 Alt- IMaj7- VI7 Alt Demonstration in Eb #2 (0m 49s)
30. Coltrane inspired ii-V7Alt-i in Eb Minor (0m 48s)
31. ii-V7Alt-i in Eb Minor Melodic Approach (0m 33s)
32. iim7-V7Alt-IMaj7-VI7Alt in Eb #1 (1m 02s)
33. iim7-V7Alt-IMaj7-VI7Alt in Eb #2 (0m 49s)
34. i – Vi∅ – ii∅ – V7Alt in Ebm Demonstration #1 (0m 48s)
35. i – Vi∅ – ii∅ – V7Alt in Ebm Demonstration #2 (0m 39s)
36. Outro (2m 54s)
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