Improvising over I-VI-ii-V

[jimiclaptoncarl18]

Hello,

I've recently been improvising over a I-vi-ii-V backing track.

Since the progression stays diatonic, it's super easy to know what scale to use. If we're in C, basically just use C Major.

But when I change the vi to a Major VI then I get a little confused to as which scale I should use over that chord.

So I'm basically Playing C Major over the I, ii, and V chords, and then D melodic minor over the VI.

Is this correct?

What other approaches are there that I could use?

Thanks!

[ksjazzguitar]

You've got the basic idea. The important thing is to get the C# over the A7 chord.

I prefer not to think of it as the D Mel Min, but as the A Mixolydian b6 - I think to think about the chord over which I am playing. It's the same notes, but a different orientation.

That is the "correct" scale in that you have taken the surrounding chord scale and just altered it to fit the current chord. However, you will find that jazzers really like the sound of the b9 over chords over dominants that resolve down a 5th so you will usually hear that B changed to Bb, giving you an A Phrygian Dominant (same notes as D Harm Min.)

There are several other approaches, but this is by far the most important. You need to master this before moving on, and that should keep you busy for a while.

Peace,
Kevin

[jimiclaptoncarl18]

Thanks!

[M-ster]

Originally Posted by ksjazzguitar

... so you will usually hear that B changed to Bb, giving you an A Phrygian Dominant (same notes as D Harm Min.)

... or even a step farther to A altered (Bb melodic minor).

[jimiclaptoncarl18]

Originally Posted by ksjazzguitar

I prefer not to think of it as the D Mel Min, but as the A Mixolydian b6 - I think to think about the chord over which I am playing. It's the same notes, but a different orientation.

Could you explain a bit on why you think of D Mel. min. as A Mixo b6?

What are the advantages?

[ksjazzguitar]

Originally Posted by jimiclaptoncarl18

Could you explain a bit on why you think of D Mel. min. as A Mixo b6?

If I'm playing D Mel Min over a Dm chord, then I think of it as D Mel Min. If I am playing it over an A7 chord, then it is an A Mixolydian b6. To me, it makes no sense to play a Dm scale over an A7. I think and play harmonically so if I'm thinking D Mel Min, then it's going to come out like Dm. That is the difference between a scalar player and an harmonic player.

Peace,
Kevin

[pierre richard]

don't forget target notes of the 3rd and the 5th as starting and not just the rrot all the time..this gives a few more options away from the root to root thing..

time on the instrument...pierre

[NSJ]

Simplest way to play a I-vi-ii-V in the key of C--

1. Chromatically target the G--P5 of the I and m7 of the vi.
2. Chromatically target the F--m3 od the ii and m7 of the V.

3. Going back to I? Target a half step down to the E, the M3 of the I.

Instead of all those modes, scales, esoteric Greek names, you have 3 simple notes to practice on G to F to E, a measly 1.5 steps. Play whatever you like that sounds good and, more impotently, is rhymically interesting, but when the applicable chord change happens, land on those notes.

I know this may sound TOO SIMPLE, but hey, there's only 12 frictin' notes in play to play.