All of Me

[seasonal]

Dear Jazz Guitarists,

Amateur theorist here . . . I'm learning "All of Me" and am wanting to know which scales I can play over the first few bars:

Cmaj7 - I'll play a C major (can I play anything else?)
E7 - I'll play a A major (anything else?)
A7 - D major

I'd appreciate any other scale possibilities over the above, and whether these different scales will still amount to the same notes as I have above in the major scales.

Thanks much.

[nick1994]

Well, the obvious Lydian for C, Mixolydian for E and Mixolydian for A. I think it would be best to think of the chords in isolation. Eg. I would think in E when playing over E rather than thinking in A over E, just because you are thinking of E7 as it's own chord, not a derivative of A major, it would seem redundant to think of every chord you see in relation to relative major, it would just be ineffective for tackling changes because you have to think of more. Now, as for All of me, I suggest working on II, V just using arpeggios. Before thinking in scales, (which I don't think is the best approach) you've got to learn chord tones inside and out.

[AmundLauritzen]

You can play lydian augmented(A melodic minor) for Cmaj7.

You can play Phrygian Dominant over E7, or the altered scale, or the wholetone scale. There are many options for this one. The same choices apply to A7.

[supermaxx]

Don't get too caught up in which scales to use. That's obviously part of it, but the first thing to consider is the arpeggios and tensions of the chords - where is it going to and how does it resolve. For the Cmaj, start with a Cmaj7 arpeggio then add other extensions (9th, 13th).

The real trick is over the dominant7 chords because that is where the harmonic movement happens. On the E7 for example, the "by-the-book" chord scale is E mixolydian but that doesn't really get to the essence of the chord. Use an E7 arpeggio, then add the 9th. Try starting the arpeggio on the 3rd of the chord.

Now look at the function of the E7. First note that it is outside of the key of C, which has an Em7 chord. So the G# is the note that changes between the C and E7 chords. Emphasize that change. Next, see that a V7 chord wants to resolve somewhere. In this case, it's likely to resolve to an Am7, the vi chord in the key of C. To create tension moving to Am, use the A harmonic minor scale.

But, the E7 does not resolve to the Am. Instead the A is a dominant7 chord - the V of ii (Dm7). So you can use the same process for the E7 on the A7 - A7 and A9 arpeggios and D harmonic minor scale.

Hope that helps a bit. It's a more advanced approach than the direct chord-scale relationships but yields a lot more possibilities and is the correct way of looking at harmony as well as working on those arpeggios and intervals.

[targuit]

Welcome to the Jazz Forums, Seasonal! Great song. I do get perplexed when I see questions of 'what scales can I perform over each individual chord' in the song. My first observation is that there a twelve tones you can choose in each key. Some of the notes will sound good and others not so much. Stick with the ones that sound right to you.

Lest you think I'm just teasing, I am quite serious. It is all well and fine to know musical theory and even chord scale theory (CST), but the first issue is whether you can pick the melody and harmonize it reliably. CST in my opinion is like losing the forest for the trees. A distraction that can set you back.

[seasonal]

Welcome to the Jazz Forums, Seasonal! Great song. I do get perplexed when I see questions of 'what scales can I perform over each individual chord' in the song. My first observation is that there a twelve tones you can choose in each key. Some of the notes will sound good and others not so much. Stick with the ones that sound right to you.

Lest you think I'm just teasing, I am quite serious. It is all well and fine to know musical theory and even chord scale theory (CST), but the first issue is whether you can pick the melody and harmonize it reliably. CST in my opinion is like losing the forest for the trees. A distraction that can set you back.

Thanks targuit . . . I have to tell you, I'm a pretty good musician, but the jazz theory has me perplexed. It may very well be that I'm thinking it "too hard" and not just playing what sounds right to me. Are you suggesting that I more or less ignore CST and start with a blank slate of all notes and then just play it by ear as to which ones sound good? I'm actually inclined to do that because honestly, I can't figure out scale changes on the fly. I feel forever lost in the theory.

[seasonal]

Don't get too caught up in which scales to use. That's obviously part of it, but the first thing to consider is the arpeggios and tensions of the chords - where is it going to and how does it resolve. For the Cmaj, start with a Cmaj7 arpeggio then add other extensions (9th, 13th).

The real trick is over the dominant7 chords because that is where the harmonic movement happens. On the E7 for example, the "by-the-book" chord scale is E mixolydian but that doesn't really get to the essence of the chord. Use an E7 arpeggio, then add the 9th. Try starting the arpeggio on the 3rd of the chord.

Now look at the function of the E7. First note that it is outside of the key of C, which has an Em7 chord. So the G# is the note that changes between the C and E7 chords. Emphasize that change. Next, see that a V7 chord wants to resolve somewhere. In this case, it's likely to resolve to an Am7, the vi chord in the key of C. To create tension moving to Am, use the A harmonic minor scale.

But, the E7 does not resolve to the Am. Instead the A is a dominant7 chord - the V of ii (Dm7). So you can use the same process for the E7 on the A7 - A7 and A9 arpeggios and D harmonic minor scale.

Hope that helps a bit. It's a more advanced approach than the direct chord-scale relationships but yields a lot more possibilities and is the correct way of looking at harmony as well as working on those arpeggios and intervals.

Supermaxx,

Thanks for your detailed answer, much appreciated. If I understand you correctly, you're simply saying focus more on what the notes are in the CHORD I'm playing under instead of trying to pick the correct scale, correct? So when I get to an E7, under your approach, I'm more to think of which notes are in the chord (along with extensions), and just focus on those notes, instead of trying to pick out the correct scale. In the end, I'm sure the two approaches will yield similar/same notes, but I get completely lost when I'm trying to match a chord with the scale especially on the fly. I'll try the arpeggios you suggest. Thanks.

[seasonal]

Would all of you say that the "golden rule", aside from emphasizing notes to produce tension and emphasize chord changes, is that whatever chord you're on, you're allowed to play whatever notes are harmonized on that chord? So when I come to the E7, no matter what key I'm actually in, I'm allowed to play any notes that are in the E7 chord, along with extensions of it. When I come to an A7 chord, same idea. When I come to an F major chord, same idea. I'm looking for a golden rule that spells out which notes are "allowable" (beyond my own ear approving of them) over a given chord, and what I'm concluding so far is that it's more about CHORDS than about scales. If I play an Em7, then allowable notes in there are all those that make up the Em7 and extensions. Even if I focused on a scale approach, I'd end up with the same notes as if I focused on the make-up of the chord. That's my hypothesis. Am I correct?

Thanks,

[seasonal]

Now look at the function of the E7. First note that it is outside of the key of C, which has an Em7 chord. So the G# is the note that changes between the C and E7 chords. Emphasize that change. Next, see that a V7 chord wants to resolve somewhere. In this case, it's likely to resolve to an Am7, the vi chord in the key of C. To create tension moving to Am, use the A harmonic minor scale.

But, the E7 does not resolve to the Am. Instead the A is a dominant7 chord - the V of ii (Dm7). So you can use the same process for the E7 on the A7 - A7 and A9 arpeggios and D harmonic minor scale.

Supermaxx . . . I get completely what you mean above now, I just tried it out and understand it. To reiterate: I'm playing in the key of C with the Cmaj7, but when E7 comes along, I look for how this chord deviates from C, and that gives me an idea of the chord tones to emphasize. Like you say, the G# is a "new note" that is outside of C major, so when E7 comes along and I emphasize that note, it sounds great because especially, it reveals I'm addressing the new chord and what is specific to that chord outside of the home key of C. Now I probably don't want to focus on always hitting those "new notes" that are specific to the new chord, but so long as I'm aware of them I can incorporate them in my playing at the right time. The technique you describe makes me agree that the scale-chord approach is probably best interpreted as a "correlate" to the technique you're advancing. So I think I'm made a bit of a step in my understanding here, which is to follow the chord tones and see what is unique about that chord relative to the key of the song. That approach appeals more to me than trying to figure out some miscellaneous scale to play over a chord, because even if I do that, I'm still not focusing on the chord tones. Does my understanding sound pretty decent so far? Thanks again. I'm needing to figure this theory out because it's been holding back my playing.

[Boston Joe]

That's pretty much correct. Look at the chord tones, especially the 3rd and 7th, because they determine the quality of the chord.

I like to to have several different ways of looking at things, so the chord-scale thing is one, but here's a quick and dirty thing you can use:

Major chords - All chord tones, plus 9, 13, #4 and #5

Minor chords - All chord tones, plus #7 (i.e. Major 7th) , 9, 11, 13, b9, b5, and b13

Dominant chords - All chord tones, plus 9, #9, b9, #11, 13, and #5

When you're using tensions - especially with dominant chords - pay attention to how they resolve to the next chord.

[seasonal]

That's pretty much correct. Look at the chord tones, especially the 3rd and 7th, because they determine the quality of the chord.

I like to to have several different ways of looking at things, so the chord-scale thing is one, but here's a quick and dirty thing you can use:

Major chords - All chord tones, plus 9, 13, #4 and #5

Minor chords - All chord tones, plus #7 (i.e. Major 7th) , 9, 11, 13, b9, b5, and b13

Dominant chords - All chord tones, plus 9, #9, b9, #11, 13, and #5

When you're using tensions - especially with dominant chords - pay attention to how they resolve to the next chord.

Thanks Joe. Just to be sure, you're saying that on a C major, I can play an F# (#4)? So when "All of Me" is on Cmaj7, I'm okay with playing an F#? It doesn't sound (to my ear) right to me, but if theoretically it's allowable, then I'll work with it to see if I can incorporate it.

[Boston Joe]

Yes, you can play a #4 on any major chord, even the Tonic. It takes a little while to get used to. Try playing a D major triad over a C chord. Work with it for a while, but don't worry so much about theoretical allowability. The only test that matters is whether or not it sounds good to you.

(Obviously, you'd play the natural 4 over a Csus chord).

[targuit]

I'll suggest something along the lines of what the eminent and brilliant guitarist, Martin Taylor, emphasizes in his teaching. When you approach a song like All Of Me, start by simply playing the chords of the progression as arpeggios, just to familiarize yourself with the chord changes. Then, I would sing the melody and lyrics over these chords, noting the architecture of the melody line. Then, pick out the melody line on the guitar. Experiment with playing it in first position and also higher up the fret board. Now think about adding a basic bass line to the melody, followed by harmonizing the melody with another note in the chord, often the third (or tenth) or seventh of the chord.

As you progress, all of this becomes instinctive and intuition driven. I virtually never think about what scale to play over the melody and chord. Why slow yourself down? If you are trying to play a melodic phrase and you hit a clam note, check if you need to sharpen it or flatten it. Who cares if it is Mixolydian or Martian? Ultimately, you need to play by ear and intuition, though it will take some time and work to get there. But it is a beautiful place to be....

Check out on YT a video of Martin playing Georgia On My Mind. BTW, he is a great teacher imo, and he has some fingerstyle jazz instructional videos that are top notch that you can sample on YT. Very rewarding.

Jay

[seasonal]

I'll suggest something along the lines of what the eminent and brilliant guitarist, Martin Taylor, emphasizes in his teaching. When you approach a song like All Of Me, start by simply playing the chords of the progression as arpeggios, just to familiarize yourself with the chord changes. Then, I would sing the melody and lyrics over these chords, noting the architecture of the melody line. Then, pick out the melody line on the guitar. Experiment with playing it in first position and also higher up the fret board. Now think about adding a basic bass line to the melody, followed by harmonizing the melody with another note in the chord, often the third (or tenth) or seventh of the chord.

As you progress, all of this becomes instinctive and intuition driven. I virtually never think about what scale to play over the melody and chord. Why slow yourself down? If you are trying to play a melodic phrase and you hit a clam note, check if you need to sharpen it or flatten it. Who cares if it is Mixolydian or Martian? Ultimately, you need to play by ear and intuition, though it will take some time and work to get there. But it is a beautiful place to be....

Check out on YT a video of Martin playing Georgia On My Mind. BTW, he is a great teacher imo, and he has some fingerstyle jazz instructional videos that are top notch that you can sample on YT. Very rewarding.

Jay

Thanks again Jay, I checked Taylor out, great stuff. I wanted to ask you another question about your approach. When you say you "virtually never think about what scale to play over the melody and chords," you do have a "home scale" in mind when you start the tune, right? For instance, for "All of me," with the version in C, would you have C major in mind when you start the tune, and then just deviate from there? Or, do you go completely ad lib with your improvisation, without ANY "grounding"? I would think even if you ad lib, you still have a mental grounding in the key of the song, right?

[pkirk]

Seasonal:

you didn't say specifically that you want to play jazz, but assuming that's what your goal is, then
although the advice you got above is good (I identify most with what boston Joe says) keep in mind that jazz improv is mostly a language, not a set of rules. In particular, even if you had such great control over your playing and thinking that that you could instantly do everything
mentioned in this thread without mistake, it still won't sound anything like jazz without a bunch of other ingredients, notably rhythmic feel, phrasing, clichés, blues, how swing feel depends on tempo, player, period, etc. Jazz simply *isnt* about "what notes over what chords" any more than folk music is about capos. Its a tradition, history, with many periods that have different approaches, and reactions to the preceding tradition. For example boston joe says use #11 on major chords and you say it sounds weird. But that sound is ubiquitous in jazz after bop, and unusual before. For a period everybody started using #5 on majors.

There are a bunch of melodic ideas you can use, but you have to understand what the context is. For example, Martino often plays minor lines up a minor 3rd, i.e. a Cmin over Amin. Is it right? wrong? it's obviously right since martino does it, but if you do it by accident rather than intention and resolve appropriately, it will sound like you dont know what youre doing.



What targuit suggests will work if you already listen to a whole lot of jazz and have a strong musical memory, but if you are new to jazz I think although the exercise he suggests is important for other reasons (eg getting from sounds in your mind to sounds on the guitar without thinking or analyzing) it won't get you to sound like jazz either. There are great players who are said to have learned this way (Chet Baker? Wes?) but these guys were totally immersed in the music and could learn things directly (i.e. by example) from their peers.

All this is a long winded way of saying that at the stage you are, I think you will make better progress by learning a few solos by great players in the style you want to play in and playing along with them. You'll get the language, you can later analyze their melodic ideas in the terms described above and then extrapolate to invent your own things (are they playing scales? chord tones? #11? why do their G7 sound like Db7? why are they playing minor pentatonics over major chords?). I have yet to meet someone who learned to play jazz convicingly by learning chord-scale rules or any rules academically, although virtually everyone who plays jazz well knows many such rules, and they form a way to communicate.

[pkirk]

PS. yes, when playing a tune, you should know the chord-of-the moment. You need to know the chord is E7, even more than you need to know what the key signature is or what the "key of the tune" is. You also need to know what chord/chords are coming up next, and you want your improv to be heading towards them.

[targuit]

Seasonal - I transpose into any key a singer would wish on the fly. So, yes, of course any interpretation of the song is grounded in the key, but I do not 'think about' the notes of the melody in that key - I 'hear the melody' in my mind and my hands execute.

To use a song like Georgia On My Mind and Martin Taylor's performance as an example, at that level I certainly know the chord progression, but when I'm playing, I focus on executing the melody, bass, and chordal harmony almost as independent lines. I'm always focusing on the melody. Everything else happens around that.

As for pkirk's comment about extensions - naturally, you must understand and know chord construction and harmonic conventions such as the use of #9ths or b5ths, for example, or the use of diminished chords. So you must know the theory and practical application in specific tunes, especially in terms of voice leading.

But remember that theory is the explanation of what sounds good or in this context "jazzy".

Jay

[croth]

Thanks targuit . . . I have to tell you, I'm a pretty good musician, but the jazz theory has me perplexed. It may very well be that I'm thinking it "too hard" and not just playing what sounds right to me. Are you suggesting that I more or less ignore CST and start with a blank slate of all notes and then just play it by ear as to which ones sound good? I'm actually inclined to do that because honestly, I can't figure out scale changes on the fly. I feel forever lost in the theory.

There is a well-known jazz guitarist/teacher who, as far as I understand, would wholeheartedly support what targuit has told us in his post, and what you have concluded on your own (using your ear). I am not going to name him because I don't want to be guilty of misrepresenting what he's said out of context of his personal presentation.

Based on my understanding, he believes that modal scales (which to many players are not really independent "scales" anyway) are not meant to be used for playing purposes, but were developed strictly for the analysis of a song after it's been played- ie. they provide a theoretical framework for discussing music academically, not for learning to play it. I know that's going to raise hairs on the backs of necks of all of those folks who devoted their years studying and practicing every conceivable mode, but it is nevertheless an idea that many players/teachers subscribe to. I am just explaining someone else's idea. What I think about it doesn't matter.

What this particular teacher would ask you to think about is this, "What note is different when you change from the C chord to the E7 chord?" The answer is simply that the natural G has changed to a G#. Then that's how the lines you play should change- to reflect that one note change. From a theoretical point of view, it happens to be the 3rd of the chord anyway, a good note to play in anybody's book.

What note(s) change when you play the A7 chord? The C natural becomes a C#, (notice that that G# has returned to being a G natural, where it belonged in the first place based on the key signature). So C# is the only change. Again, the 3rd of the A7 chord, another good note to emphasize. The poster who suggested using a D-major scale (or A Mixy) would be adding an F# in addition. I'm not sure how that would really sound in All of Me, but I guess it's worth a try. In music theory terms, it's the #4 (or #11) of the C scale, a note many players believe should be substituted for the 4th anyway. But I'm diverting from and over-complicating my own explanation now, so moving on...)

If you start out with just this simple idea of asking yourself which notes are different from the key signature scale as the chords change, you should be able to construct reasonable improvs without memorizing tons of "scales/modes". They may not be great improvs, but they will be acceptable and a very good place to start. Of course, when you get ready to play more "outside", you might need to look into the rest of those 12 notes that others have referred to, even if they're not quite in the scale (but they probably will be in the extended chord arpeggios, ie. b5. #5, b9, #9, etc). And THAT'S where your idea of using your ears to play what sounds right starts to really come into play! You can also use that ear to decide if you prefer that F# or that F that came into question a moment ago. In the end, isn't that what really matters anyway?

This is just another way to look at improvising without immersing yourself in what can be for some the daunting scale/mode approach to playing.

Best of luck with whichever way you choose to go.

p.s. - When I wrote this post, I hadn't seen Targuit's mention of Martin Taylor and I once again have to commend him for his insights. Nor had I yet seen the discussion on #4s and #11s. While Mr. Taylor is not the artist I had in mind when I initially wrote my post, he too does approach improvising the way my referenced artist does. They are similar in that regard. As I said, there are other well-respected player/teachers who subscribe to this more "common-sense", or "practical" approach to improvising and Traguit hit one nail on the head. I was also glad to see that the #4 matter had been addressed by others more knowledgable than me.

[Boston Joe]

Based on my understanding, he believes that modal scales (which to many players are not really independent "scales" anyway) are not meant to be used for playing purposes, but were developed strictly for the analysis of a song after it's been played- ie. they provide a theoretical framework for discussing music academically, not for learning to play it.

I think George Russell and Miles Davis would disagree.

But for my own part, I think people get way too hung up on this stuff. The modes are just a means of organizing a collection of notes that will work over a given chord. There are lots of other ways to do that as well. I think people are best off learning the bebop scales, and how to hit chord tones reliably, on beats that make sense. Once you've done that, you can start to add in other stuff.

Ultimately, for me, the goal is to have a lot of different ways of looking at stuff. It could be modal, it could be arpeggios, it could be triad pairs, it could be pentatonics, etc. The more ways of looking at it that you have, the more contexts you have for any gene chord, the more possibilities you have.

[croth]

I think George Russell and Miles Davis would disagree.

Oh yeah? I don't see THEM posting anything about this here. Bring one of them around and we'll ask them.

Seriously, I am aware that Miles was a highly educated jazz artist (Julliard, I think?). But I am not sure that he represents the best defense of using modes to address chord changes in improvising. I'm not aware that Miles said, "Well this is a G7 chord so you need to play the mixylodian mode of the c major scale". To the best of my knowledge (which is admittdly limited) the only thing we know is that he said, "Let's take the dorian mode of the c major scale and see what we can do with only those notes and no chord changes". That is a much different thing.

Anyway, I can agree that this subject has been argued to death and there probably exists no absolute answer. The ideas that were presented here were designed to help the OP find a way to improvise in a less daunting way, himself stating that he was not inclined to want to think in terms of modes and scales to get the job done. I am well aware of the many artists and teachers who believe that the way to understand jazz is to put all of the work into it, modes and scales included, but not all people can be that dedicated to the art.

[seasonal]

Thanks to all who responded and for your advice. Your experience has served me well in trying to understand some of the theory. Here's my current "golden rule" in terms of what notes I can play over a given chord: any notes that are in the chord (or its extensions) is definitely fair game. For instance, when I play the E7 chord, I'm going to improvise over it using the notes of the E7 chord, which also happens to be the A major, but I'm not going to think of it as A major, and instead focus on the notes of the E7. In this approach, I'm basically equating scales to chords and chords to scales, which is similar to the concept of playing arpeggios that has been recommended. If I land on an Ab13, for instance, then I'm going to play the Ab13 "scale" over it. Yes, I realize that I'm also to focus on the chord tones and the changes, etc., but as a general rule, the notes I'm "allowed" (forgive me, I'm trying to nail down the theory as general as I can, I realize that any and all notes that sound good are allowable) to solo over a chord are the notes that are IN the chord (or its extensions, or perhaps "substitutions" is more appropriate here).

The above may amount to learning modes, etc., but I'd prefer think of it in terms of spelling out the chord in terms of which notes to play over a given chord. Play the chord tones and the extensions (and stylistically, as has been suggested by many, focus on where the melody is going in order to know which notes to emphasize, etc.).

If the above approach isn't correct, I'd appreciate if someone would correct me on it. Thanks again for all your help, I think I'm finally making some headway into this. What I'm learning is that it's really all about CHORDS, not so much about scales, since the scales are derived directly from the chords.

[monk]

There has been much serious, spirited and sometimes heated discussion of modes, chord scales and chord tones as platforms for improvisation and soloing here on this forum. Since some of you are new to the forum or may have missed those threads, I want to touch on something that tends to confuse people who are new arrivals to the party.

There are two types of music: Tonal and Modal.

Tonal music is functional. By functional I mean that the harmony of the songs moves or progresses from one chord to the next. Each chord in the progression having a function that relates to the Key of the tune: I-vi-ii-V or ii m7-b iii m7-ii m7-b II7-V7-I.

Modal music is static. That means that there is little or no harmonic motion. There is no Key. There are no chord changes per se. In the case of a tune like So What ,there are D minor quartal voicings that hold for 16 measures followed by 8 measures of Eb minor quartal voicing then a return to Dminor quartal voicings. Minimal harmonic motion with a melody that is based on a set mode, in this case, the Dorian mode.
In tonal music, using All of Me as the example, the thing that causes problems is to try to impose the modes of the major scale over chords without considering the Function of the chord.

So, let's look at the function of the chords in the A section of All of Me:
C- I
E7- V7/vi
A7- V7/ii
Dm- ii
E7- V7/vi
Am- vi
D7- V7/V
Dm7- iim7
G7- V7

A guideline for dealing non-diatonic chords in tonal music is to change only the note that defines the non-diatonic chord. In the key of C, the iii chord is Em or Em7. In All of Me, the chord we hear is E7. The difference between the two chods is One Note. To change Em7 to E7, we change the minor third (G) to a major third (G#). This is the Only note that has to be changed because the Function of the E7 is V7/vi. All the other notes in the Key remain the same.

If you take the chord tones of E7: E G# B D and add the remaining notes of the key as extensions, you get E G# B D F A C.

If you then examine the E mixolydian mode, you will see:E G# B D F# A C#.

A quick look should show that there are differences in the extensions between the two pitch collections.

Since the E mixolydian mode is derived from the key of A major and All of Me is in the key of C, it should be apparent that just superimposing E mixolydian mode over E7 in this tune may not yield the best results.

Most of the songs of the Swing and Bebop Eras are functional or tonal tunes. Modes and modal did not become a big part of jazz until 1959. One of the reasons that you hear a lot of people on this forum tell beginner and intermediate players to concentrate on the chord tones in tonal tunes is that the notes of the chord provide the basic information against which you can add the other notes in the key or chromatic notes.

Also remember that jazz has a vocabulary and that vocabulary is found in the recordings of the jazz greats. Listening to them and hearing how they deal with these things is not only necessary but is much better than trying to theorize your way to good soloing.
Regards,
Jerome

[Boston Joe]

There are two types of music: Tonal and Modal.

Tonal music is functional. By functional I mean that the harmony of the songs moves or progresses from one chord to the next. Each chord in the progression having a function that relates to the Key of the tune: I-vi-ii-V or ii m7-b iii m7-ii m7-b II7-V7-I.

Modal music is static. That means that there is little or no harmonic motion. There is no Key. There are no chord changes per se. In the case of a tune like So What ,there are D minor quartal voicings that hold for 16 measures followed by 8 measures of Eb minor quartal voicing then a return to Dminor quartal voicings. Minimal harmonic motion with a melody that is based on a set mode, in this case, the Dorian mode.

This distinction works if you're trying to play in a way that outlines the chord tones with minimal ambiguity. If you want to open things up a bit you can impose a modal perspective over a tonal tune. For example, Pat Marino's version of Oleo treats the entire A section as C minor. If you were going to take a strictly tonal approach, you'd have to be sure to outline the F7 > Bb cadence.

Like everything it's a matter of perspective. You can follow the harmonic functions, or you can play more modally, and leave the chords somewhat ambiguous. It depends on what kind of effect you're trying to achieve.

[pkirk]

Also remember that jazz has a vocabulary and that vocabulary is found in the recordings of the jazz greats. Listening to them and hearing how they deal with these things is not only necessary but is much better than trying to theorize your way to good soloing.
Regards,
Jerome

+10^10