The Minor Blues

[randalljazz]

Originally Posted by franco6719

"Interplay"---Bill Evans/Jim Hall
"Mr PC"
"Stolen Moments"
"Blue Trane"
"Birk's Works"
etc...

They're all over the place, though I can't think of anymore.

five spot after dark--benny golson, in Bm

equinox--john coltrane, in C#m

[elie]

hello to evre body

[Stringbean]

Originally Posted by 604bourne123

the minor tonality would be lost

Interesting.
thanks

[604bourne123]

to progress through the 11 scale exercises with the chording and leads is not easy thing to do but you have to /to be any kind guitar player and then to improvise with different chords all in your head at a specific exercise really opens the doors to the tunes of minor blues

[franco6719]

five spot after dark--benny golson, in Bm

equinox--john coltrane, in C#m

Those sound like good examples in challenging and unusual keys. In jazz, there's a danger of getting habituated to the "horn" keys of most jazz standards and nothing else. It's important to stretch out.

[elie]

hello every one

[m78w]

Welcome aboard Elie!

MW

[don.stanley]

Thank you very much, great thread

[franco6719]

Originally Posted by funnyval

I've heard Joe Pass say in various places that he doesn't think about the IIm chord in II-V progressions, although he covers the different minor scales in detail in his method books. Is that the type of thinking you are using when playing V altered scales over the IIm7b5?

For example, for minor blues measures 9-10, over the Dm7b5 G7alt, the G altered (Ab melodic minor) scale is recommended. Analyzing this over the Dm7b5, you get the 11, b5, b13, 13, natural 7, b9 and b3. How is this rationalized, or am I being too rational? It can sound good, but why does this work, especially the Db note.

For Gm7b5 in measure 4, do you ever recommend using G locrian (Ab major) or G locrian natural 9 (Bb melodic minor) which keeps the A note.

Or for Dm7b5 in measure 9, do you ever recommend D locrian (Eb major)? Proably wouldn't tend to think D locrian natural 9 (F melodic minor) here since that would give you the non-key E natural note.

Or do you ever just think Ab major for Gm7b5 C7alt and Eb major for Dm7b5 G7alt and catch the chord tones in the 7 chords if desired?

These are all good ideas. You can also try harmonic minor-style licks on the altered 7 or and upper structure diminished arpeggio or tritone substition.
Miles once said to Coltrane "You can't play everything on this tune." Coltrane replied: "Why not?"

[skei]

Franco,
Very nice quote. And those two (Miles and John) were also so very much opposing poles of sorts. Miles with his often sparse, probing methodology, Trane with the bombastic approach, well there are examples of very sensitive approaches from him too, Naima comes to mind, but more often than not the 'why not' seems like a good key signature for the man. He did it well, but so did Cannonball Adderley.

Peace
Skei ( the my guys got into parliament one)

[604bourne123]

thanks for the everlasting insights great to be in the audience of music lovers/will try these on my guitar/giggle giggle

[604bourne123]

[quote=franco6719;37291]These are all good ideas. You can also try harmonic minor-style licks on the altered 7 or and upper structure diminished arpeggio or tritone substition.
Miles once said to Coltrane "You can't play everything on this tune." Coltrane replied: "Why not?"[/quote/ new scales change the moods of the 2/5s

[franco6719]

Originally Posted by skei

Franco,
Very nice quote. And those two (Miles and John) were also so very much opposing poles of sorts. Miles with his often sparse, probing methodology, Trane with the bombastic approach, well there are examples of very sensitive approaches from him too, Naima comes to mind, but more often than not the 'why not' seems like a good key signature for the man. He did it well, but so did Cannonball Adderley.

Peace
Skei ( the my guys got into parliament one)

Yes, and I think Miles really wanted that striking contrast in approaches basically (especially dramatic in the early years when many critics thought Coltrane was just nuts or something). It all worked amazingly well!!

[franco6719]

Of course, I wasn't saying that everyone is capable of or should play like that early Coltrane "sheets of sound". The point here really was just that I think you should probably try all kinds of ideas, scales, arpeggios and find what you think sounds good. Don't get obsessed with the notion of the one perfectly correct scale or way of playing those changes. Explore a bit, even live and with other musicians. I'm still learning myself, but it seems to me that that is a large part of what jazz is all about.

When practicing by yourself, I would think, you should almost TRY to make some mistakes or "mistakes", so you can learn to hear what sounds appropriate and not appropriate.