playing over Nica's Dream

**richb2** · 10-23-2010, 11:16 PM

Nica's Dream starts with a BbmMaj7 to an AbmMaj7. Any tips on playing over these chords and the rest of Nica's Dream?

**M-ster** · 10-24-2010, 12:19 AM

Are these the changes you're using?
http://mindrup.com/jazz/scans/Nica's%20Dream.zip

I'd approach the first 6 bars modally: Bb mel minor to Ab mel minor and back.

**randalljazz** · 10-24-2010, 06:04 AM

http://www.crbond.com/download/nicdrmhm.pdf

**docbop** · 10-24-2010, 07:36 AM

Originally Posted by PaulD

Like M-ster said, melodic minor. Whole-tone scale and Augmented arps also work really well over the minMaj7ths. This is a great tune!

Paul

Whole-tone is a major sound with altered 5's and a b7 so it would be quite a clash with MinMa7 chord.

**Reg** · 10-24-2010, 12:12 PM

I usually play from harmonic areas... but it sounds pretty mechanical when you simply move positions. You have options...
If you play from both Bb ans Ab Melodic Minors, you have as common tones, Bb, Db, Eb, F and G. So create line or rhythmic figure from those notes and fill from harmonic areas as chords change. You can just use one note that changes, like "C" going to "Cb", with the common tones and will imply movement very well.
Sometimes I play like a rock player and just add the "E" between Eb and F, so you have a pentatonic style lick... Bb, Db, Eb, E, F, G... can work as a pedal style like lick or groove to play call and answer with, again with notes that change between the two chords. Don't get stuck playing Rock pentatonic... that's what you'll sound like, but can help set up different direction of your solo... This will head your ears to hearing Bb-maj7 as tonic and Ab-maj7 somewhat like a dominant area. Again sets up call and answer style phrasing patterns. There's always the tri-tones, each chord has two tri-tones and they both have Db -G in common , that opens the door to again common harmonic pattern with one changing element to create movement. You can also pull from Harmonic Min. and use in similar manor... There are many more... but I'm sure I've given you plenty to start with... Best Reg

**M-ster** · 10-24-2010, 04:59 PM

Originally Posted by randalljazz

http://www.crbond.com/download/nicdrmhm.pdf

Excellent response, randalljazz. The changes are a bit more straight ahead in this PDF, and it's clear that a better answer might have been, "you play what best suits your line."

I note that, in the transcription, Mobley uses Gb or G natural over the Bbm, depending.

I like the sequenced motif that begins in the 5th bar after letter H, too. Very cool, whole-tone based riff that illustrates PaulD's suggestion (i.e., not the whole-tone based off of Bb, but the opposite (there are only two, as you know)).

**richb2** · 10-24-2010, 07:23 PM

very cryptic. Thank you.

**richb2** · 10-25-2010, 08:45 AM

I've decided to learn the head and stick fairly closely to that.

**fep** · 10-25-2010, 10:51 AM

Originally Posted by richb2

very cryptic. Thank you.

People go to the trouble to answer your question, and you respond back by insulting them?

Note to self, don't answer richb2's posts.

**richb2** · 10-25-2010, 10:56 AM

sorry if I offended you. it wasn't meant as an insult.

**BigDaddyLoveHandles** · 10-25-2010, 11:46 AM

Q: What recording in that Hank Mobley transcription taken from?

When I listen to jazz guitar solos, I end up picking them apart in my head; with other instruments I'd more likely to just let them wash over me, but looking at that transcription I'm struct by how scalar it is.

**randalljazz** · 10-26-2010, 05:42 AM

Originally Posted by richb2

I've decided to learn the head and stick fairly closely to that.

probably ought to have the melody down solid before you put much into "what to play over what chord"...file under 'first things first'...

**randalljazz** · 10-26-2010, 05:57 AM

here it is (hank solos first):

this one has the last couple minutes, but the sound is not as good:

**randalljazz** · 10-26-2010, 06:10 AM

Originally Posted by BigDaddyLoveHandles

Q: What recording in that Hank Mobley transcription taken from?

When I listen to jazz guitar solos, I end up picking them apart in my head; with other instruments I'd more likely to just let them wash over me, but looking at that transcription I'm struct by how scalar it is.

(Horace Silver)

The Jazz Messengers: Donald Byrd, trumpet; Hank Mobley, tenor saxophone; Horace Silver, piano; Doug
Watkins, bass; Art Blakey, drums.
Recorded April 5, 1956, in New York. Originally issued on Columbia CL-897 (mx # CO55736).

**richb2** · 10-26-2010, 06:24 AM

Originally Posted by randalljazz

probably ought to have the melody down solid before you put much into "what to play over what chord"...file under 'first things first'...

I actually don't play the head. The trumpet is playing that.

**randalljazz** · 10-26-2010, 07:02 AM

Originally Posted by richb2

I actually don't play the head. The trumpet is playing that.

uh-huh...but your feeling for the tune will be greatly enhanced by internalizing the melody, and that will manifest in your improv.

**Reg** · 10-26-2010, 10:04 AM

Hey Randall... was fun reading through Mobley's solo with him, always one of my favorite tenors. Great history lesson... thanks Reg

**Jazzyteach65** · 10-26-2010, 11:32 AM

Art Farmer does wonders with this tune on "Aztec Suite"

**Jazzyteach65** · 10-26-2010, 11:41 AM

**M-ster** · 10-26-2010, 08:52 PM

Wes disappointed a little; but I liked Louie Stewart on the 2nd.

**FatJeff** · 10-27-2010, 10:23 AM

Originally Posted by ingeneri

You need to know the head in order to know the tune! Period.

Totally agree. I got nailed the other night at a jam when I called a tune ("There Is No Greater Love") and asked the trumpet player to take the melody. He said, "You called the tune. You play the head!" So, I did - marginally. I need to go work on that one now. :-)

**Jazzyteach65** · 10-27-2010, 02:06 PM

Originally Posted by ingeneri

You need to know the head in order to know the tune! Period.

You shouldn't ask what scale over what chord if you haven't even bothered to listen to a recording of the tune.

Playing Bb melodic minor followed by Ab melodic minor will only sound mechanical if you play it that way.

Hank Mobley is awsome.

Very true! If you listen to the changes and a few interperataions of the head, the melody and changes will lend itself to a load of ideas! You can just hear the minor lines after one listen! The thing about playing through changes that move down or up step-wise without a ii-V entrance is that one should make the change (Ab-/Bb-) sound smooth and connected. If I were to think "Bb melodic/harmonic, then Ab HM/MM" and not connecting the tonalities using passing tones and common/the closest tones, I would sound more like a robot deliberately making the changes sound apart and frozen

**Jazzyteach65** · 10-27-2010, 02:10 PM

Originally Posted by docbop

Whole-tone is a major sound with altered 5's and a b7 so it would be quite a clash with MinMa7 chord.

I use whole-tone ideaas over minor chords, and so do a lot of piano players!

**bako** · 10-27-2010, 02:25 PM

Originally Posted by Jazzyteach65

I use whole-tone ideaas over minor chords, and so do a lot of piano players!

Jazzyteach65,

Is this what you are referring to?

FGABC#Eb F9+#11

over

BbmMa7

Playing on the whole tone dominant of the minor chord?

**danjw** · 10-27-2010, 02:36 PM

i think the whole tone thing refers to the fact that you can build an aug triad on third of a minor/maj 7.
Db F A
if one were then to play this as a whole tone it would give
Db Eb F G A B
the Bb mel minor is
Bb C Db Eb F G A

only two notes different!
the sound has just enough connsonence to make it work but with a sickly sweet dissonance. very modern sound you might say.