One Note Samba: Conti's Ticket to Improv, Vol. 2

**lawson-stone** · 08-11-2017, 09:56 AM

I enjoy memorizing these solos. It's pretty much the only times I sound like a real jazz guitar player.

Once after playing a memorized Jimmy Raney solo, my amp thought it had been sold to a real jazz musician.

**rlrhett** · 08-11-2017, 01:36 PM

I know Conti specifically says "don't worry about playing the exact notes for bar 18", but I'm worried about bar 18. I don't understand where that line is coming from, and that usually isn't a problem with these Conti solos. All the notes are diatonic to Db, so that much is clear (except for the natural E at the end, but that is just a chromatic passing tone).

At the beginning of the section he says that the lines spell out the chords. That seems pretty consistent with his playing so far. But if I look at this line it spells out: Ab-F-Bb-Eb. So what is this? An Ab69? As a substitution for the Ab7? Is this a common bebop device for playing over a dominant chord? He does use the b7 in the line, even though not on a down beat. Does that make it a Ab13add9?

I know, I know, that kind of analysis is anathema to Conti. I can't help it. Understanding helps me to assimilate it.

**MikeS** · 08-11-2017, 01:45 PM

Originally Posted by rlrhett

I know Conti specifically says "don't worry about playing the exact notes for bar 18", but I'm worried about bar 18. I don't understand where that line is coming from, and that usually isn't a problem with these Conti solos. All the notes are diatonic to Db, so that much is clear (except for the natural E at the end, but that is just a chromatic passing tone).

At the beginning of the section he says that the lines spell out the chords. That seems pretty consistent with his playing so far. But if I look at this line it spells out: Ab-F-Bb-Eb. So what is this? An Ab69? As a substitution for the Ab7? Is this a common bebop device for playing over a dominant chord? He does use the b7 in the line, even though not on a down beat. Does that make it a Ab13add9?

I know, I know, that kind of analysis is anathema to Conti. I can't help it. Understanding helps me to assimilate it.

I would look at it as just a chromatic passing tone to transition to the F in measure 19.

Mike

**rlrhett** · 08-11-2017, 01:47 PM

Originally Posted by MikeS

I would look at it as just a chromatic passing tone to transition to the F in measure 19.

Mike

The whole one bar line? I don't think I understand.

**lawson-stone** · 08-11-2017, 02:05 PM

Originally Posted by rlrhett

I know Conti specifically says "don't worry about playing the exact notes for bar 18", but I'm worried about bar 18. I don't understand where that line is coming from, and that usually isn't a problem with these Conti solos. All the notes are diatonic to Db, so that much is clear (except for the natural E at the end, but that is just a chromatic passing tone).

At the beginning of the section he says that the lines spell out the chords. That seems pretty consistent with his playing so far. But if I look at this line it spells out: Ab-F-Bb-Eb. So what is this? An Ab69? As a substitution for the Ab7? Is this a common bebop device for playing over a dominant chord? He does use the b7 in the line, even though not on a down beat. Does that make it a Ab13add9?

I know, I know, that kind of analysis is anathema to Conti. I can't help it. Understanding helps me to assimilate it.

First of all, mm 17-20 pretty much works with the Db Major scale as a ii-V-I line. Over the Ab7, I would expect downbeats on chord-tones important for that chord. So for m. 18, the down-beats feature notes Ab, F, Bb, Eb, or, relative to the Ab7 chord, Ab=1, F=6/13, Bb=2/9, Eb=5. All those are solid chord-tones. The upbeat notes are all diachronic to the Db Major scale except for the E natural which is transitioning chromatically to the F in m. 19. So in m. 18 the upbeat notes relative to Ab7 are: Gb=b7, Db=4/11, E natural= #5 or passing tone to F.

So in that measure, relative to the Ab7, we have:
Ab Gb F Gb Bb Db Eb E nat
1 b7 6 b7 2 4 5 #5

Interestingly, what's missing in the line is C, the 3rd (rel. to Ab7), which will give the arpeggio in m. 19 a sparkle as the highest note in the line. One of the things that makes this line nice is that it doesn't just have the "white-bread" feel of easy chord-tones on downbeats, but exploits legitimate upper extensions on downbeats since they are not altered or tension tones. They do give the line a slippery feel, which is part of the charm of bossa-nova, which tends to slide all around on the beats. Despite using scale and chord-tones, the line generates a kind of tension that only gets resolved on the DbMaj7 arpeggio in m. 19-20.

This is a hard line to play thinking about downbeats. I can feel the downbeat easiest on beat 1 of each measure, but the others I just play evenly by blind faith and I'm always surprised when I end the line in the right spot!

I dunno if that helps at all, but it's how I've thought my way through this part.

**losaltosjoe** · 08-11-2017, 02:14 PM

Originally Posted by lawson-stone

I enjoy memorizing these solos. It's pretty much the only times I sound like a real jazz guitar player.

Once after playing a memorized Jimmy Raney solo, my amp thought it had been sold to a real jazz musician.

The trouble with getting older is that just when my fingers start to get it, my memory starts to fail me! I'm sure after my 2 week break, I'll have to relearn the solo.

**losaltosjoe** · 08-11-2017, 02:20 PM

Originally Posted by lawson-stone

I'm always surprised when I end the line in the right spot!

You and me both! LOL.

**lawson-stone** · 08-11-2017, 03:09 PM

Originally Posted by losaltosjoe

You and me both! LOL.

I see the line as thinking, "Okay... this is a 4-measure ii-V-I in Db major, I'm starting on a clear Ebm7 chord but then I'm going to wash, wallow, swerve, and dodge for until halfway through the 3rd measure, then I'm going to NAIL a DbMaj7 arpeggio except I'm going to do it descending, with the peak on the maj7th at the top of the line..." So it's kind of "Ebm7... uh, hmm, maybe, DbMAJ7!"

**MikeS** · 08-11-2017, 03:17 PM

One Note Samba Improvisation
Bars 1-16

Here goes Bars 1-16

Mike

**rlrhett** · 08-11-2017, 03:39 PM

Originally Posted by lawson-stone

First of all, mm 17-20 pretty much works with the Db Major scale as a ii-V-I line. Over the Ab7, I would expect downbeats on chord-tones important for that chord. So for m. 18, the down-beats feature notes Ab, F, Bb, Eb, or, relative to the Ab7 chord, Ab=1, F=6/13, Bb=2/9, Eb=5. All those are solid chord-tones. The upbeat notes are all diachronic to the Db Major scale except for the E natural which is transitioning chromatically to the F in m. 19. So in m. 18 the upbeat notes relative to Ab7 are: Gb=b7, Db=4/11, E natural= #5 or passing tone to F.

So in that measure, relative to the Ab7, we have:
Ab Gb F Gb Bb Db Eb E nat
1 b7 6 b7 2 4 5 #5

Interestingly, what's missing in the line is C, the 3rd (rel. to Ab7), which will give the arpeggio in m. 19 a sparkle as the highest note in the line. One of the things that makes this line nice is that it doesn't just have the "white-bread" feel of easy chord-tones on downbeats, but exploits legitimate upper extensions on downbeats since they are not altered or tension tones. They do give the line a slippery feel, which is part of the charm of bossa-nova, which tends to slide all around on the beats. Despite using scale and chord-tones, the line generates a kind of tension that only gets resolved on the DbMaj7 arpeggio in m. 19-20.

This is a hard line to play thinking about downbeats. I can feel the downbeat easiest on beat 1 of each measure, but the others I just play evenly by blind faith and I'm always surprised when I end the line in the right spot!

I dunno if that helps at all, but it's how I've thought my way through this part.

That does make sense. I guess I need to expand my thinking to extension when I think of chord tones.

FWIW, as I play it more I see a Gb6 all over the first two bars. Which I guess makes sense from a Barry Harris way of thinking.

**lawson-stone** · 08-11-2017, 03:55 PM

Originally Posted by rlrhett

That does make sense. I guess I need to expand my thinking to extension when I think of chord tones.

FWIW, as I play it more I see a Gb6 all over the first two bars. Which I guess makes sense from a Barry Harris way of thinking.

None of which, including my own "analysis," actually helps play it any better! I want the lines in my ears and under my fingers, since any number of theory analyses are possible. But we've been a "Play it!" group all along, and that's been a lot of fun. More notes, less fruitless debate. The fact that we were able to use the lines playing over other standards also shows some carry-over is happening.

Admittedly, baby steps!

**rlrhett** · 08-11-2017, 09:25 PM

I know, I know. To quote Conti, "don't get hung up on all that theory nonsense".

Thing is that it does actually help me play it better if it isn't just rote memory. As long as the quest for understanding doesn't get in the way of playing the lines, I think it can be OK. Just don't tell Conti I said so. :P

**Doublea A** · 08-12-2017, 08:33 AM

Originally Posted by lawson-stone

First of all, mm 17-20 pretty much works with the Db Major scale as a ii-V-I line. Over the Ab7, I would expect downbeats on chord-tones important for that chord. So for m. 18, the down-beats feature notes Ab, F, Bb, Eb, or, relative to the Ab7 chord, Ab=1, F=6/13, Bb=2/9, Eb=5. All those are solid chord-tones. The upbeat notes are all diachronic to the Db Major scale except for the E natural which is transitioning chromatically to the F in m. 19. So in m. 18 the upbeat notes relative to Ab7 are: Gb=b7, Db=4/11, E natural= #5 or passing tone to F.

So in that measure, relative to the Ab7, we have:
Ab Gb F Gb Bb Db Eb E nat
1 b7 6 b7 2 4 5 #5

Interestingly, what's missing in the line is C, the 3rd (rel. to Ab7), which will give the arpeggio in m. 19 a sparkle as the highest note in the line. One of the things that makes this line nice is that it doesn't just have the "white-bread" feel of easy chord-tones on downbeats, but exploits legitimate upper extensions on downbeats since they are not altered or tension tones. They do give the line a slippery feel, which is part of the charm of bossa-nova, which tends to slide all around on the beats. Despite using scale and chord-tones, the line generates a kind of tension that only gets resolved on the DbMaj7 arpeggio in m. 19-20.

This is a hard line to play thinking about downbeats. I can feel the downbeat easiest on beat 1 of each measure, but the others I just play evenly by blind faith and I'm always surprised when I end the line in the right spot!

I dunno if that helps at all, but it's how I've thought my way through this part.

Excellent analysis Lawson !!

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**MikeS** · 08-13-2017, 02:42 PM

One Note Samba Improvisation
Bars 1-24

Playing catch up. Here are Bars 1-24.

Mike

**lawson-stone** · 08-14-2017, 04:57 PM

Friends,
I tend to work ahead because it takes me so long just to get these lines learned and playable in a way that feels natural. So I've been working today on mm. 25-28 and I'm very, very confused.

On the DVD Conti talks about a "trill" and from the video it looks like the trill is on a double-stop with F and Ab. But where he talks about this, in connection with measure 26, there are just two F notes. Then in the next line, at measure 30, we get the F Ab double-stop, but no indication of a trill. At that point, however, measure 30, he presents a different phrase. It's all good, and I am learning what he plays on the video, but it's puzzling to see not just a slight change in phrasing , which we're used to, but completely different phrases.

So I'm wondering if there is perhaps an updated version of the transcription on some later releases of the DVD or if (since the lines are based on the same chords) the expressions are interchangeable there and it doesn't matter. If the latter, normally he tells us since we (okay, I) am basically clueless.

Anybody else encounter this?

**MikeS** · 08-14-2017, 05:31 PM

Originally Posted by lawson-stone

Friends,
I tend to work ahead because it takes me so long just to get these lines learned and playable in a way that feels natural. So I've been working today on mm. 25-28 and I'm very, very confused.

On the DVD Conti talks about a "trill" and from the video it looks like the trill is on a double-stop with F and Ab. But where he talks about this, in connection with measure 26, there are just two F notes. Then in the next line, at measure 30, we get the F Ab double-stop, but no indication of a trill. At that point, however, measure 30, he presents a different phrase. It's all good, and I am learning what he plays on the video, but it's puzzling to see not just a slight change in phrasing , which we're used to, but completely different phrases.

So I'm wondering if there is perhaps an updated version of the transcription on some later releases of the DVD or if (since the lines are based on the same chords) the expressions are interchangeable there and it doesn't matter. If the latter, normally he tells us since we (okay, I) am basically clueless.

Anybody else encounter this?

My transcription is the same as the one you have. I'm playing it the way he teaches it on the video. The trill, F-Ab on measure 26 and an Ab-G-F on measure 30 because this sets up measure 31. I believe there was an error when printing the transcription. Measures 26 and 30 are interchangeable under the same Db7 chord.

Additionally, on measure 32 there is and added F not annotated to complete the augmented line.

Mike

**lawson-stone** · 08-14-2017, 06:17 PM

So I'm still struggling a bit with 25-32, so thought I'd post a "so far, so... meh" video of 1-28. The backing track I'm using also can be a little slippery for finding the beat, which I guess is part of the charm of bossa nova.

I've mic'd the L5ces through the Polytone for this recording. I'm having fun exploring differences in recording direct from the pre-amp versus mic'ing the speaker. Still not sure which I prefer.

**lawson-stone** · 08-14-2017, 09:42 PM

So I have tried to day to "nail" mm. 25-32 and something just isn't happening. Part of it is having to figure out what goes in the erroneously transcribed measures, but also I'm just not getting something.

So here are a few "loops" of my efforts at 25-32. If you have any advice, I can surely use it.

I will say at least I got good tone!

**rlrhett** · 08-14-2017, 11:43 PM

I thought we were on week three? I'm still on measures 16-24. Guess I have to dig the spurs in.

**lawson-stone** · 08-15-2017, 07:23 AM

Originally Posted by rlrhett

I thought we were on week three? I'm still on measures 16-24. Guess I have to dig the spurs in.

Don't worry-I'm running ahead here. It really takes me a LONG time to learn these lines, and to keep with the pace, I have to work way ahead. This stuff does not come naturally to me!

So I was just hung up on this portion and wondering if anyone else had gotten there yet.

We are indeed on week 3 and I'm just jumping the shark because I tend to fall on the shark's nose...

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**Doublea A** · 08-15-2017, 07:51 AM

I will take a look at that section today. Hopefully I will have something helpful/intelligent to say.

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**lawson-stone** · 08-15-2017, 09:01 AM

Hey Guys
Just so you know... Robert Conti is still following our thread! He saw my query about those measures and contacted me on Facebook Messenger and commented. "Don't obsess about playing the solo perfectly, as it is meant for student interpretation."

I am really impressed that some how or others, this guy is keeping up with our progress through his material. I know of very few other "big name" teachers who would do that!

He knows how to keep a customer coming back. Just care about them and pay attention to them.