Understanding "Perdido" and Improvisation Techniques

Overview

"Perdido" is based on the famous tune by Johan Tizoll, featured in the Duke Ellington orchestra's repertoire. Similar to "Leaping In," it includes a dominant seventh cycle as the bridge:

• D7
• G7
• C7
• F7

This progression culminates on the V chord of the key, which is B flat.

Chords and Improvisation

The first three chords, D7, G7, and C7, are not in the key of B flat; they include notes outside the scale. This compels us to improvise vertically over them, adjusting our note choices for each chord.

Suggested Technique

In "Leaping In," we utilized arpeggios or broken chord figures. However, in "Perdido," the suggestion was to play the scale of the chord, which is known as the Mixolydian scale. This scale is straightforward to identify.

Exploring Modes

Consider it in the key of C. This brings us to the concept of modes. Essentially:

• A Mixolydian scale or a Dorian scale are both modes of a major scale.
• For example, if you start a major scale on D, you obtain the Dorian mode, which is suitable for D minor 7.
• If you start on G, you derive the Mixolydian mode, ideal for G7.

Important Note

Instead of viewing these modes as variations of the C scale, understand them as distinct scales. For G7, rather than simply playing a C scale starting on G, recognize that:

• The only difference between the Mixolydian scale and G major (which contains an F sharp) is the F natural.
• Adjusting this note allows us to play the Mixolydian scale with a flattened seventh.

Application in "Perdido" and "Leaping In"

You can apply this technique across the bridge of "Perdido" and "Leaping In":

1. D7
2. G7
3. C7
4. F7

Practice Loop

Try practicing these chords in a loop. For instance, let's look at the last two chords from the "Leaping In" bridge:

• E7
• A7

1. Establish a loop with the left hand keeping time.
2. Utilize a metronome set to 3/4 for consistent timing.

Next, create the same pattern for A.

Expanding Your Routine

If you're enthusiastic about practice, extend this routine to cover the entire cycle of 12 chords:

• E
• A
• D
• G
• C
• F
• B flat
• E flat
• A flat
• D flat
• F sharp
• B7

Mastering these will give you an understanding of all 12 chords and their corresponding scales.

Five Finger Positions

It's also beneficial to familiarize yourself with five finger positions in various parts of the scale. For example, play a C7 Mixolydian scale with the thumb on the root, just using the first five notes.

Variations

• Start using your thumb on E (the third).
• Alternatively, try it with the thumb on the fifth.

You can practice these patterns in reverse as well while keeping time with the left hand.

Advantages of Five Finger Positions

These positions automatically align the chord notes with the beat. By starting on the third or fifth, everything will be appropriately placed, which is a significant advantage during improvisation.

No Need to Look

When your hand is in a five finger position, all the necessary notes are easily accessible under your fingers.

Pattern Practice

Practice patterns based on the scale. We previously covered this in the first part of the course, but focusing on a thirds pattern now might be beneficial, alternating notes from:

• D7 Mixolydian
• G7 Mixolydian

Feel free to experiment with rhythms and the extent of your patterns. Your approach doesn't have to match the examples exactly.

Applying Patterns

Try incorporating these patterns into your improvisation in both "Perdido" and "Leaping In."