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Hey guys! I have a jazz trio (guitar, bass and drums) and I have been struggling a bit playing modal songs, (especially Footprints). Becuause of the abstract nature of modal playing, its really hard for me to set the color of a mode hamonically (when soloing) without another harmonic instrument helping out. ¿What advice would you guys give in soloing over modal songs when you are the only harmonic instrument? . Thanks in advance!
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12-13-2017 04:07 PM
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Originally Posted by nicaguitar
John
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Originally Posted by John A.
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My trio quartet about to try this one also. I know I will struggle, don't know what quartel harmony is.
We have been doing Impressions as well, someone suggested I add chords to my improve, that certainly gives it life, momentum, directional changes etc.
Been transcribing Miles So What, as we all know it is truly stunning. There does not seem to be too much fancy stuff going on at all. What a story teller. I think he does Footprints also, will have to find it and dig in.
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Originally Posted by gggomez
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Barry Greene does a great video lesson on footprints (as well as dozens of other tunes).
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Originally Posted by gggomez
Getting back to Footprints (a Wayne Shorter tune that Miles Played with Shorter on "Miles Smiles"), use stacks of 4ths, but From C-dorian (CDEbABb) and F-dorian (FGAbBbCDEb) for the i and iv chords.
You can do other stacks to introduce tension/dissonance, which is a huge part of McCoy Tyner's style that was picked up by lots of people (Mike Stern, bigly). It's easy to explore this without having to think about theory or positions or grips -- just stack 'em up and move 'em around, in whole steps, half steps, leaps, whatever sounds good.
JohnLast edited by John A.; 12-13-2017 at 06:56 PM.
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Thanks for all the replys guys!!
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Originally Posted by nicaguitar
So, for instance
C dorian --> Cm, Bb, Gm, F, Dm (Going up into the upper structure.)
But other material also works well... Lines based on quartals and intervallic stuff is cool... Just be careful from getting too notey. That stuff belongs more in the later part of a solo, perhaps.
Here is another thing, that's taken me a long time to learn about trio playing. Ration your single lines especially at the top of a solo. Play a lot of chords - quartal chords for instance - and link those chords melodically via the top voice.
Aim for at least a 50/50 balance of chords and single note lines. It's not the only way to do the trio thing (Pat Metheny is very single line oriented for instance) - but that's what I'd advise myself, as it were. Don't think of the two things as seperate but mix it up!Last edited by christianm77; 12-15-2017 at 06:53 PM.
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Also, to bring out the colour of the mode, target and hear the characteristic note(s) the mode.
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Originally Posted by gggomez
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Thanks graham bop ok understand. Have been doing a bit of this but will sit down and choose some favourites. Thanks again
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Yo Nica, which version of the changes are you playing?
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Also the melody of that tune is really cool in how it relates to the chords - it’s a good shout to look into that.....
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Thinking about the Footprints as it's written as a composition...
Wayne was quite known for writing a very specific bass-line as well as a melody, and this is tune is a very obvious example.
In the head, the bass very obviously outlines a 1-b3-5 triad, the melody on the other hand has more of a floating 'sus' quality.
For instance, the b3 is not sounded over the Cm chord. We have b7, 1, 6/13, 5, 4/11 and 9 on Cm. There is a strong influence here of the Gm pentatonic.
So, this should be as good an object lesson on how to create the modality of the piece using just melody against a bass-line, and might serve as a strong source for your improvisations.
As for the turnaround - that depends on which version of the changes you play.
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Listening to the Adams Apples version it sounds like they are playing D7 Db7 on the blowing from b9-10... The head changes are apparently
| F#m9 B(+5, +9) | E7+9 A(+5, +9, +11) | (note: no 7 shown on the B or A chords)Peter Spitzer Music Blog: Those "Footprints" Changes
The changes are in the book 'Footprints' apparently
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Originally Posted by christianm77
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Did you read the link? That's basically what the fella says. But what Wayne originally wrote is interesting too.
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Originally Posted by christianm77
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I think it is D7 and Db7 on the Adam’s apple version for the blowing though? (To my ears) he doesn’t mention that.
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I think it is D7 and Db7 on the Adam’s apple version for the blowing though? (To my ears) he doesn’t mention that.
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It’s funny, these simple jam session tunes always turn out to be not so simple....
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Hard to say...no guitar or instrument with me here at the moment, but listening, I'm definitely hearing Herbie playing 4 chords in the turnaround most of the time...Carter floats it a bit more...arrrgh, I'm going to have to try and transcribe piano from a BLUE NOTE record...shiiiit.
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Of course there's this poorly recorded example, where I play literally anything on the turnaround...
Certainly not the best example, but I think it gets the idea across.
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