Jazz improvisation is an art form that requires a thorough knowledge of chords and scales. To create interesting jazz chords while improvising, there are several methods that can be utilized.
One effective method is to use chord substitutions. Chord substitution involves replacing a chord with another chord that has a similar function in the progression. For example, a II-V-I progression can be substituted with a II-V-I-VI progression. This adds a new flavor to the progression and creates new opportunities for improvisation.
Another method is to use chord extensions. Chord extensions are additional notes that can be added to a chord to create a more complex sound. For example, a C major chord can be extended to include the ninth, eleventh, and thirteenth notes. This creates a Cmaj13 chord which has a richer and more complex sound.
Using altered chords is also a great way to create interesting jazz chords while improvising. Altered chords are chords that have been modified to include sharp or flat alterations. For example, a dominant seventh chord can be altered to include a sharp five or a flat nine. This adds tension and creates a more complex sound.
One more method is to use pedal points. Pedal points are notes that are held constant while the chords change around them. For example, a pedal point can be used on the root note of a chord while the other notes of the chord change. This creates a unique and interesting sound.
Finally, it is important to be aware of the context in which the improvisation is taking place. The chords being played, the melody being improvised, and the style of music being played all play a role in determining the best methods for creating interesting jazz chords.
In conclusion, there are several methods for creating interesting jazz chords while improvising. These methods include chord substitutions, chord extensions, altered chords, pedal points, and being aware of the context. By utilizing these methods, a jazz musician can create unique and interesting sounds that will captivate their audience.
Source:
- Levine, M. (1989). The Jazz Theory Book. Petaluma, CA: Sher Music Co.
