looking for ideas playing over static chords especailly minor

[grahambop]

Sorry ragman, it just tickles me that we've all answered the question and gone home, while you're still here saying 'you haven't defined your question properly, so no-one can answer it'.

[ragman1]

You might know it but does the OP? It's his query. And I'm not totally convinced he knew what he meant himself otherwise he would have said so, no reason not to. In fact, I suspect it was all academic and he wasn't relating it to any actual tune.

Which is why I think he's probably gone off to get a book...

[alltunes]

Thanks again for the all great ideas and links.

Ragman please don’t ever change you user name it’s perfect.

[alltunes]

You might know it but does the OP? It's his query. And I'm not totally convinced he knew what he meant himself otherwise he would have said so, no reason not to. In fact, I suspect it was all academic and he wasn't relating it to any actual tune.

Which is why I think he's probably gone off to get a book...

I actually enjoy your pretentious posts most days.

[ragman1]

I actually enjoy your pretentious posts most days.

You still haven't answered my question. Are you asking in relation to a particular tune or is it academic?

I too can give you a dozen ideas over a minor chord but it depends what you mean by static. If you already knew the complexity of it why the thread? You'd already know lots of things beyond mere Dorian!

[grahambop]

He doesn’t need to answer it because you are the only person who didn’t understand his question (and presumably he now has enough info. without your answer).

Anyway carry on trying to have the last word, it keeps us amused.

[ragman1]

He does need to answer it. The expression 'static minor chord' covers more than one thing. As you well know, or profess to know. It's not just a repeated m7 chord.

[grahambop]

I'm sure alltunes will get back to you if he feels you can be of further help to him.

[BigDaddyLoveHandles]

Some folks just seems to be coy when they come to a forum with a question. I honestly don't know what this is...

"Can someone suggest an amp for jazz?"
"How about ..."
"Hmmm, I'm not looking for a used amp"
"Good to know. You could have mentioned that. How about ..."
"Not SS. I want a tube amp"
"Good to know. You could have mentioned that. How about ..."
"Not a separate head and cab. I want a combo"
"Good to know. You could have mentioned that. How about ..."
"Too heavy"
"Good to know. You could have mentioned that. How about ..."
"Too expensive"
"Good to know. You could have mentioned that. How about ..."
"Still too expensive"
"Good to know. You really could have mentioned that. How about ..."
"That's got a scooped BF sound... Not what I'm imagining"
"Good to know. You could have mentioned that. How about ..."

[kris]

He does need to answer it. The expression 'static minor chord' covers more than one thing. As you well know, or profess to know. It's not just a repeated m7 chord.

Don't roll over the question because it's really boring.

[kris]

Thanks again for the all great ideas and links.

Ragman please don’t ever change you user name it’s perfect.

Ragman 2 is more modern .

[alltunes]

Here is an excellent presentation of what means to use when improvising on one chord /static chord or one chord vamp/.
Chad LB is a great musician and educator:

This is great stuff. Playing dominant 7th 1/2 step down from static minor is something I never tried. This is exactly the type of “tools” I am looking for. Thanks for link.

[Christian Miller]

There’s about a million things you can do. Maybe I should do a vid. Hmmm

The way I see it, a minor turnaround is a static chord, like Softly. So anything you can do on Softly A section you can do on Cm vamp and vice versa. Also G7alt, just play that for 8 bars.

What about the tritone sub? Of the dominant but also the Im

Cm6 = G9, so play F#m6

Maybe that will suggest some ideas.

The main thing to note is you can play anything if you know how to resolve. Biggest thing a lot of learners can’t do yet. Forward motion. End up on a triad tone, and get more and more comfortable stretching out the dissonance

outside —> inside playing = changes playing

[ragman1]

I'm sure alltunes will get back to you if he feels you can be of further help to him.

The problem is that I've no doubt alltunes had already concluded that static minor simply meant a repeated m7, as in So What and other tunes. So when I asked him what he meant by static he must have thought what an idiot, poor ragman doesn't even know what static means, right?

And he might also have known that dynamic meant resolving, or wanting to resolve, as in a ii-V-I. But whether a chord is resolving or not-resolving (static or dynamic) also depends a lot on context. As many things do.

When I was looking for tunes to suggest for the Jam threads I thought of Nica's Dream. That's got a whole host of m/M7 chords, one after the other, one bar each. They are static minors.

Also, naturally, every time a tune in a minor key goes back to the i chord, or a i7, that's static too.

What about non-diatonic minors, as in a plagal cadence? Dm7 - Fm6 - CM7. Is that Fm static or dynamic? Not so simple. Is it static because it's a m6? Or dynamic because it's subbing for the G7?

We did Recorda Me some time back. That has 4 bars of Am, which are static, then 4 bars of Cm. But the 4th bar it becomes Cm7/F7 - BbM7. So it changes from being static to dynamic. Or was it always dynamic?

There are other examples in Bossa tunes where the function of various chords isn't very clear. For instance, there's a tune called Aguas De Marco that starts:

B7 - G#m6 - Em/M7 - B69
F7 - EM7 - Em6 - B69

Static or dynamic? Because they have a way of morphing into each other.

And so on, so it's not just So What. So, yes, alltunes can take all your ideas and apply them but whether they would actually work in context would be another matter.

[Christian Miller]

This is great stuff. Playing dominant 7th 1/2 step down from static minor is something I never tried. This is exactly the type of “tools” I am looking for. Thanks for link.

Ah yeah look at the way Chad resolves. Case in point. ‘Bebop!’

[Alter]

I actually did upload a video playing substitutions over a II V I a while back, filmed during a teaching break. I had a paper with all the possible subs I could think of and was going through it..

I think that was it. I 've since written a second one! .. It never ends!

[ragman1]

Alter! Where have you been, I've been missing your playing. I'd like to hear you do All Blues on the Jam thread.

See, I'm a fan :-)

[Alter]

Been pretty busy since music kind of opened up again here. Did some session work, finally recorded my trio, have an acoustic guitar cd coming up... Plus teaching again in a city where noone uses public transport anymore (cause of covid) proves challenging...

[ragman1]

It never ends!

You're not wrong!

[grahambop]

The problem is that I've no doubt alltunes had already concluded that static minor simply meant a repeated m7, as in So What and other tunes. So when I asked him what he meant by static he must have thought what an idiot, poor ragman doesn't even know what static means, right?

And he might also have known that dynamic meant resolving, or wanting to resolve, as in a ii-V-I. But whether a chord is resolving or not-resolving (static or dynamic) also depends a lot on context. As many things do.

When I was looking for tunes to suggest for the Jam threads I thought of Nica's Dream. That's got a whole host of m/M7 chords, one after the other, one bar each. They are static minors.

Also, naturally, every time a tune in a minor key goes back to the i chord, or a i7, that's static too.

What about non-diatonic minors, as in a plagal cadence? Dm7 - Fm6 - CM7. Is that Fm static or dynamic? Not so simple. Is it static because it's a m6? Or dynamic because it's subbing for the G7?

We did Recorda Me some time back. That has 4 bars of Am, which are static, then 4 bars of Cm. But the 4th bar it becomes Cm7/F7 - BbM7. So it changes from being static to dynamic. Or was it always dynamic?

There are other examples in Bossa tunes where the function of various chords isn't very clear. For instance, there's a tune called Aguas De Marco that starts:

B7 - G#m6 - Em/M7 - B69
F7 - EM7 - Em6 - B69

Static or dynamic? Because they have a way of morphing into each other.

And so on, so it's not just So What. So, yes, alltunes can take all your ideas and apply them but whether they would actually work in context would be another matter.

Impressive that you can read the OP’s mind and tell that he doesn’t know all this (which is all pretty obvious stuff).

[Lionelsax]

Hi !

I've got an Aebersold called Major & Minor Volume 20.
At the end of the CD Jamey Aebersold gives example.
Dorian, be bop Dorian, blues and then chromatic scale.
The chromatic scale is the more impressive.
You can also create an internal chord change like in be bop.

For Dminor
Dm7 FM7 Edim Eb7

If you underline well your chords it will sound good.

You can also try quartal chords or ideas that come from them.

You can also think that your minor chord is a ii of a V

Then if you are 300% guitar player you can use minor pentatonics.

Lists of minor pentatonics for Dminor

To be in : D, E, A

To be out : all except G and B (they are too close to Dminor and will not sound out but wrong.

That's just what I think.

[mastodonovan]

Static Dominant Chord

altered scale (melodic minor 1/2 step up from root)
whole tone scale
mixolydian
blues scale
diminished


Static Minor Chord

Dorian mode
???
any other other ideas?

half whole diminished the 4 of the minor chord

[rpjazzguitar]

Here is an excellent presentation of what means to use when improvising on one chord /static chord or one chord vamp/.
Chad LB is a great musician and educator:

thanks for posting this!

This is a great lesson video. The explanations are clear and the demonstrations sound like great jazz.

I found it interesting that he got a classic jazz sound. I played the same notes and they sounded lifeless. I then slowed it down. He still sounded jazzy (although the faster tempo sounded better). I nailed the notes and the timing thereof at the slower speed, but I didn't get it to sound like jazz. I guess there's something about the the way the horn speaks the notes.

Anyway, the whole thing was interesting.

EDIT: I recently recorded the melody and a solo for a long-distance project. I couldn't get the melody to sound good at full speed (it was fast) so I slowed it down in Reaper and then sped it back up before submitting it. Reaper does a pretty good job preserving the tone if you don't record too slow. Maybe 75%.

Anyway, I got a complement on the solo. The arranger didn't know I cheated and liked the rapid lines, realizing that it's faster than I usually play.

And, sped up, it sounded more like typical jazz guitar than I usually sound.

I don't think the issue is just speed. I think there's something about fluency at speed that does it. I was more fluent at the lowered speed more than I could have been at full speed.

[ragman1]

Impressive that you can read the OP’s mind and tell that he doesn’t know all this (which is all pretty obvious stuff).

I'd take issue with the word obvious. It's entirely knowledge-dependent. Once it's pointed out it becomes fairly obvious, but not necessarily before then.

I didn't say the OP didn't know, I said I doubted that he knew given the simplicity of his initial question. And so it turned out given his thanks for the responses.

Given the simplicity of the OP's question, I doubt if he understood that.

looking for ideas playing over static chords especailly minor

Unlike you to try to stir things, graham. Never seen you do that before.

[grahambop]

Oh I do very occasionally. Usually I’m far too polite though.