Nested Melodies – The Secret behind Playing Over Changes
Mastering Bebop, Jazz, Fusion, and Blues Languages with Rhythm and Nested Melodies
Playing over changes can be challenging, but with the right approach, it can become much easier. The first step is to transcribe or learn a melody that inspires you and understand the chord in the background of that phrase.
Next, you should internalize the rhythm and practice it with one or two notes. In the video, I demonstrate this by playing a phrase from Charlie Parker’s “Moose the Mooch” and emphasizing the second inversion of B flat as the underlying structure.
Once you have internalized the rhythm, you can start associating melodies with triads. It’s important to remember that anything can be inverted, and in the video, I show you different versions of a phrase using inversions. I also introduce the concept of nested melodies and demonstrate how to apply it to various inversions of Ab, using Parker’s bebop melody “Donna Lee” as an example.
Having control of fundamental elements such as triads, arpeggios, scales, chord, chord scales and voice leading is crucial in mastering playing over changes. If you have been following my work for a while, you know how much I emphasize the importance of learning these elements and offer resources to efficiently do so inside my online programs.
In conclusion, playing over changes requires associating melodies with triads. This includes transcribing or learning a melody, internalizing rhythms (practicing rhythms with one or two notes helps internalize it), and using nested melodies to create different versions of a phrase. Comprehending fundamental elements such as triads, arpeggios, scales, chords and chord scales and voice leading is also crucial. With the right approach and resources, mastering Bebop, Jazz, Fusion, and Blues languages is achievable.
