The Jazz Guitar Chord Dictionary
Reply to Thread Bookmark Thread
Page 6 of 6 FirstFirst ... 456
Posts 126 to 136 of 136
  1. #126

    User Info Menu

    But you remember (as this is about jazz blues) that we did All Blues some time back. I admit to delving into theory knowledge over the D7 and Eb7#9, often played as 7#9b13.

    In the end I came up with a few cool sounds for it, like the F and Gb major triads. Probably couldn't have done that without insider information

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #127

    User Info Menu

    Quote Originally Posted by alltunes
    Suggestion: trying pushing and pulling your single note lines against the tempo once in a while to add some interest.
    Good point. Noted. At least you listened to it!

  4. #128

    User Info Menu

    Quote Originally Posted by Neer
    his playing with Miles on That’s Right from Decoy. You can hear that it’s blues.
    Are you sure that's a blues? Sco's playing blues licks (plus his scary chromatic stuff!) but the tune's not a blues... is it?

    Thoughts on Improvising Over Jazz Blues, Anyone?-png

  5. #129

    User Info Menu

    Quote Originally Posted by ragman1
    And here's mine from about 20 minutes ago -)

    No rehearsal, take one, hence occasional hesitation. And not bebop. As for theory... depends how you look at it. No real analysis, just helpful subs. Unless subs are theory (which they might be)

    This thread has really defined the differences in certain approaches. I can hear a lot of tension and release in your solos, almost like a person just lamenting their lost love and being forlorn.

    While with Bebop, it is more like going on a ride. And the biggest thing is the way playing chord tones on strong beats just lights up my brain, especially when those extensions are thrown in. Its kind of exciting to finally be able to identify these attributes of a solo.

  6. #130

    User Info Menu

    Quote Originally Posted by ragman1
    Are you sure that's a blues? Sco's playing blues licks (plus his scary chromatic stuff!) but the tune's not a blues... is it?

    Thoughts on Improvising Over Jazz Blues, Anyone?-png
    I guess it more closely resembles Rhythm Changes with that bridge. The A is just missing the V7 chord but the IV is treated like the V in spots. Bad example I picked, maybe, but I wanted to showcase Sco’s bluesy playing.

  7. #131

    User Info Menu

    Sco playing blues (his solo starts at about 2:15).


  8. #132

    User Info Menu

    Quote Originally Posted by jameslovestal
    Deleted since I had you confused with someone else.

    Sorry about that chief.
    Ha!, ha! No worries.

  9. #133

    User Info Menu

    Quote Originally Posted by rpjazzguitar
    I gave this some more thought.

    This idea is based on playing one set of changes over a different set of changes. That is, you solo as if the pianist/bassist are playing a certain set of blues changes, but, in reality, they are playing a different set.

    So, start with a backing track that's a simple version of a blues and then solo as if they were playing a more complicated version.

    This links to some examples of blues changes. Use a simple backing track, then try to play on these. A lot of it may turn out too dissonant, but you'll probably come up with ideas you like.

    My first foray was when I realized that it sounded good to play on Bm7 (or maybe it's E7sus) in bar 4 of a Bb blues.

    Jazz Blues Chord Progressions - Shapes & Comping Examples

    You have to hear the juxtaposition, so it's very important to play against a backing track.
    I have been considering this post. For example, I looked up some transcriptions of some Jazz Blues Songs to see what kind of chords the more "Bebop-like" songs use. Of course, with Parke Blues, there are plenty of 2-5s to thrown in. I was surprised that some of Grant Green's songs and Wes' songs had such vanilla changes.

    So, I conclude that like you said, even over a basic F7, one can play lines that include upper extensions and altered tones, and it can sound great when done correctly. So I no longer worry as much about the harmony.

  10. #134

    User Info Menu

    I have also come across some nice substitutions that really got my attention. Playing a Dmi7 arpeggio over the F7 in and F Blues for example. Also, the Natural D Minor Scale shares a lot of the same notes as the F7 chord, so if you have a nice D Minor line, it might sound good over the F7.

    I think this is kind of what I used to hear Pat Martino did in his earlier years, "Minor Conversion" I think it was called, or something like that. I have got to say that I am now a believer in the sounds it can give.

    Back to the woodshed....

  11. #135

    User Info Menu

    One of the cool things about the blues is, that you can learn the majority of what you need to know to become a fantastic musician just by learning to play superb blues. If you really analyze the blues forms thoroughly enough and apply the concepts, you'll see that it's essentially all there. IMO that's a really cool thing about the blues

  12. #136

    User Info Menu

    This site has so much on it. I found an old thread that tackles the subject of Jazz Blues Improvisation. There is some good stuff in there but they seem to run off the poor young man who started the thread, lol.

    Improvising over a Jazz Blues