Welcome to the last lecture of the series, The Blues Understanding and Performing an American Art Form. This is lecture seven entitled Techniques of Jazz Improvisation: Part 2. During this session, we are going to explore three techniques of improvisation. One, using modes or heptatonic scales. Two, using pentatonic collections. And three, using different scalar patterns. To demonstrate these techniques, I'll be joined by the saxophonist Luke Norris, and the rhythm section, with Tyrone Allen on the bass, and Daniel Sunshine on the drums. The discussion of each technique of improvisation will be coupled with the specific blues progression, which we examined in greater detail in lecture five. Modal improvisation will be discussed using minor blues. Pentatonic improvisation using sus blues, and the technique of improvisation utilizing different scalar patterns will be demonstrated using the isotope progression. On the screen you can see seven diatonic modes derived from the major, or Ionian, scale. This method of mode derivation, known as the parent scale method, with the Ionion mode being the parent mode is not ideal, because it strips individual modal collections from the salient characteristics. And references each mode back to its original parent scale. For instance, if you want to figure out the Lydian mode on A flat, using the parent scale methodology, we have to first determine which scale contains A flat as a perfect fourth. Then, based on the fact that the E flat major scale indeed contains the pitch A flat as the perfect fourth, we can build the Lydian mode using the mode from the E flat major scale. It's quite cumbersome procedure to figure out a simple note. And additionally, during the process, we are constantly thinking about the parent scale, the E flat major scale rather than thinking about A flat Lydian with its own characteristics and pitch collection. So on the screen, you can see seven diatonic modes. You can see Ionian mode from C to C. [MUSIC] Dorian mode from D to D. [MUSIC] Phrygian from E to E. [MUSIC] Lydian from F to F. [MUSIC] Mixolydian from G to G. [MUSIC] Aeolian from A to A. [MUSIC] And Locrian from B to B. [MUSIC] A far better methodology of mode derivation, renders each mode, or heptatonic collection, heptatonic meaning seven notes. As an independent scale with its unique characteristics, beauty marks and specific tonal implications. When you build modes starting on the same pitch, you will be in a much better position to concentrate on their pitch structure and overall sound. And above all, you will eliminate the cumbersome steps of finding the parent scale. On the screen, you can see the pitch structure of seven diatonic modes, beginning on C. Okay, so now, the Ionian mode. [MUSIC] It's still from C to C. Now Dorian mode transposed to C. [MUSIC] Phrygian mode transposed to C. [MUSIC] Lydian mode transposed to C. [MUSIC] Mixolydian transposed to C. [MUSIC] Aeolian. [MUSIC] And finally, Locrian. [MUSIC] Later on we'll discuss a specific characteristics of this mode when we discuss different modal categories. In addition to these seven diatonic modes, because they are derived from the Ionian scale, there are also seven chromatic modes, derived from the melodic minor scale. So on the screen you can see seven chromatic modes derived from the Melodic Minor. So, here is your parent scale from C to C. [MUSIC] Dorian Flat 2 begins in the second note on D. [MUSIC] Lydian Augmented on 3, E flat to E flat. [MUSIC] Mixolydian sharp 11 or sharp 4 on 4. [MUSIC] Mixolydian flat 13 from G to G of the melodic minor. [MUSIC] Locrian natural 2 on A. [MUSIC] And altered or Super-Locrian mode on B. [MUSIC] We can also transpose all these modes to the same scale degree as the Itonic modes. So, here are all chromatic modes beginning on C. C Melodic Minor. [MUSIC] Dorian Flat 2. [MUSIC] Lydian Augmented. [MUSIC] Mixolydian sharp 11. [MUSIC] Mixolydian flat 13. [MUSIC] Locrian natural 2. [MUSIC] And finally altered. [MUSIC]