(Guitar Book) - Exotic Scales - New Horizons For Jazz Improvisation.pdf

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Exotic Scales
New Horizons
for Jazz Improvisation
J.P. Befumo
Exotic Scales
New Horizons
for Jazz Improvisation
J.P. Befumo
SuperiorBooks.com, Inc.
Exotic Scales
New Horizons for Jazz Improvisation
All Rights Reserved. Copyright © 2002 J.P. Befumo
No part of this book may be reproduced or transmitted in any form
or by any means, graphic, electronic, or mechanical, including
photocopying, recording, taping, or by any information storage or
retrieval system, without the permission
in writing from the publisher.
This edition was produced for on-demand distribution
by Replica Books.
Softcover ISBN: 1-931055-60-2
Printed in the United States of America
Cover by SuperiorBooks.com, Inc.
Copyright ©2002
FOREWORD
When I first took piano lessons as a child I learned to read
music and follow the notation on sheet music. Although I learned
scales and was exposed to modes as part of my music instruction,
composition and improvisation remained a mystery until my late teens
when I took lessons from a jazz pianist during my freshman year in
college. Even then, although I could repeat patterns that I copied
from the instructor, and even modify those patterns slightly, true
improvisation did not come easily, because I did not understand the
underlying musical structure.
Despite my extensive formal education, I found that I still
could not create a style of my own: I simply did not have a structure
that allowed me to explore options in a systematic and creative way.
It was not until I studied a text on Jazz Improvisation and actually
practiced using the various modes and progressions, that I began to
grasp how to improvise, as well as how to add color and complexity
to my playing.
As a formally trained musician, I was at first skeptical of the
approach propounded in Exotic Scales. After all, ‘real’ jazz players
rarely approach improvisation from the perspective of applying a single
scale over an entire progression. Rather, they think in terms of changing
scales and modes, and applying arpeggios over specific passages. When
I sat down and carefully analyzed the results that emerge from applying
these scales in the harmonic settings developed in the book, I was
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