Improvisation Tips and Techniques for Musicians: Part 7

As you know, regular chords (such as C, F, G, E, etc) are limited in terms musical colors. They sound simple. While they certainly have their places, sometimes we need more colors in our music. We need sounds that are not-so-straightforward. To get that type of effect, we use what is called dissonance or dissonant chords. That is what we will talk about in this article, as it relates to improvisation.

Sometimes chords are written as Gm7/C or Bb/C or C9sus4. Those chords are said to have multiple nomenclatures. In the examples above, we can say that the tone/key/scale is being complemented. In both cases (Gm7/C and Bb/C) where the bass is in C, we have 2 degrees that are in direct relationship with the tone/key of F. Gm7/C is the 2nd degree and Bb/C is the 4th degree.

The one thing that might throw one off is the famous C in the bass. I see the C in the bass as being supplementary to the base chords Gm7 and Bb. You, the improviser, must find your way out of it.

Let's take a closer look at the notes in the chords. For Gm7/C, we have C, F, Bb, D, G (guitar position). In relation to Gm7, that gives us the sus4, dominant 7th, minor 3rd, 5th and root.
For Bb/C, we have the same notes in guitar position but the relationship is different; it is the 9th, 5th, root, major 3rd and 6th.

It is only in relationship with the roots G and Bb that the notes change "numeric" function. As for the other case C9sus4, it is the same notes but this time C7 is at the bass. And to that chord, we have added a 9th and a 4th. This 4th gives the chord the "suspended" effect and also this chord is the 5th degree in relation to F, as we mentioned above. It is really V7sus4.

If we name the notes based on C, we get the root, the 4th (sus), the dominant 7th, the 9th and the 5th. To improvise, we can use the scale of F (F, G, A, Bb, C, D, E) which is the ionian mode or we can use the scale of Bb (lydian mode) or Gm (dorian mode). We complete the whole thing with other modes and chords that are in relation to F.

If you are interested in doing the exercise in other keys, here are the modes/chords:
Fmaj7 (ionian), Gm7 (dorian), Am7 (phrygian), Bbmaj7 (lydian), C7 (mixolydian), Dm7 (aeolian), Em7b5 (locrian).

Please note that these chords tend to be resolved into something else, given their "suspended" effects.

Go explore and acquire some impressive improvisation skills!