"SO WHAT" Improvisation

[bebop kid]

Whats the best way to improvise on "So What" besides Dorian mode or a minor scale on both chords?

[merseybeat]

Here!

http://www.jazzguitar.be/forum/impro...-question.html

As long as there is a sense of purpose (i.e. not random waffle) you can play just about anything.

Any embellished arpeggio from Dorian mode will work fine. Also experiment with other keys where that minor chord is a member! Also consider V7alt of i (A7alt - Dm7 and Bb7alt - Ebm7). and resolve into the blues scales every now and then to give your solo a sense of stability! And finally get chromatic!

Hope this helps

Eddie

[randalljazz]

minor pentatonic on root, 2nd and 5th degree; major pentatonic on 3rd, 4th, and 7th degree; blues scale; other minor scales (harmonic, melodic, phrygian, aeolian); play 4 measure sections as if they were ii-V7-i-i...and so on...

[Mario Abbagliati]

The most important element of improvising in tunes like So What tends to get lost in the debate regarding harmony and other devices. Phrasing, rhythm and note placement are the key ingredients. Unfortunately, it's a difficult topic to discuss. Imagine a debate on how to learn to ride a bike. Well, everything to do with rhythm it's in the same zone, we only grasp the concept in the process and it often requires playing with a musician/teacher with better time than us in order to understand it as well as playing along with the records. When I listen to Stanley Turrentine soloing on Impressions it's not about how hip his harmonic devices are, but about time, pure time!

[merseybeat]

Exactly! I am currently programming Pat Metheny's version of "All the things you are" into my cranium. In many parts there is a complete absence of a key but its all held together with some very tasty phrasing, rhythm, and note placement! In fact this rendition is a goldmine!

Eddie

[randalljazz]

Originally Posted by Mario Abbagliati

The most important element of improvising in tunes like So What tends to get lost in the debate regarding harmony and other devices. Phrasing, rhythm and note placement are the key ingredients. Unfortunately, it's a difficult topic to discuss. Imagine a debate on how to learn to ride a bike. Well, everything to do with rhythm it's in the same zone, we only grasp the concept in the process and it often requires playing with a musician/teacher with better time than us in order to understand it as well as playing along with the records. When I listen to Stanley Turrentine soloing on Impressions it's not about how hip his harmonic devices are, but about time, pure time!

and how is that not applicable to any improvisation?

[derek]

How about you transcribe Mile's solo? Seems like a good place to start.

[Mario Abbagliati]

Originally Posted by randalljazz

and how is that not applicable to any improvisation?

As you know, it's always applicable to any song. My point was that in a tune like So What there's nowhere to hide behind, so rhythm becomes even more important.

[bebop kid]

Originally Posted by randalljazz

minor pentatonic on root, 2nd and 5th degree; major pentatonic on 3rd, 4th, and 7th degree; blues scale; other minor scales (harmonic, melodic, phrygian, aeolian); play 4 measure sections as if they were ii-V7-i-i...and so on...

i'll try this one! tnx dude!

[C.A.JO.]

Originally Posted by derek

How about you transcribe Mile's solo? Seems like a good place to start.

+ 1.

I did that myself once - it was the first "jazz solo" I ever transcribed.