The Jazz Guitar Chord Dictionary
  1. #1

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    Been practicing Girl from Ipanema and Autumn Leaves, and struggle to not just repeat myself either on the repeat of the A section or a second time through the changes

    as I am playing solo fingerstyle, resorting to just changing the texture, but if I limit to single note soloing, what are some good strategies for keeping things fresh the second or third time through?

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Hi BWV,
    I am NOT a real jazz guy, so we're both best off waiting for some of them to post. Some of the, simple things I'll do for harmony is just use different inversions of the chords, or add extensions: 9ths usually work well; a V chord can often take a 13th...or even a #5...a tri-tone sub also works for the V chord.
    You mention solos, I'd like to let the other guys handle that ......you've broken your scales down to arpeggios ? and know that the major scale, for instance can be seen as one big extended chord ..(seven actually) .. a iii chord can sub nicely for the I.
    Girl from Impanema: have you seen this ? https://www.jazzguitar.be/blog/the-g...panema-chords/

    Now I want to see what the real guys say

    -best,
    Mike

  4. #3

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    Make up a little motif and work the idea thru the chords to see where it leads you. Then 2nd time around do the same with some other little motif.

    Call and response lines are another way to change it up. So on the third time around maybe do that.

    Not the tune you're referring to but this is the idea behind motif playing


  5. #4

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    Scat sing lines in practice.

    Write down, or memorize, a few that you like.

    Use those.

  6. #5

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    I try to vary things as much as I can as I go through a solo, these days it’s not really a conscious thing as I play, but I guess I must have thought about it and practised it over the years to arrive at that point.

    Some things I do to create variety are:

    Start playing in the middle register, later on move to lower register or higher register. I often seem to go up to the higher notes near the end of a solo, seems to be a good way to create a sort of climax.

    Start with slower phrases/longer notes/simpler motifs, with use of space. As the solo progresses, start using faster/longer lines, shorter notes, less space etc.

    If you’ve been playing lines of eighth notes for a few bars, then break them up with spaces and short motifs, before continuing with eighth notes again.

    Use different rhythmic patterns, irregular note groupings, start phrases on a different place in each bar. Listen to Jimmy Raney for this, he was a great advocate of these approaches.

    Maybe use chords later in the solo, to increase the weight of sound (Bruce Forman calls this ‘playing big band’ in one of his videos). Listen to Wes Montgomery, he often used to progress from single notes, to octaves, then chord soloing, to raise the tension/excitement.

    It also helps to develop as many melodic ideas as you can. Look at the first 3 chords of Autumn Leaves, it’s just a ii-V-I movement, so you need to develop as many lines (in all keys) as you can, over this progression. Since it crops up all over the place in most jazz standards, you need to be able to come up with loads of different ideas for it. If you consider all the altered lines you can create over that V (dominant) chord, it opens up a lot of possibilities.

    If you run out of ideas, try using elements taken from or suggested by the melody of the tune, and embellish/develop them; that is a method used by some great improvisers such as Lee Konitz.

    Anyway those are some of the things I can think of, hope that helps.

  7. #6

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    Check out/test/observe how much is actually needed to change to make one phrase sound/"mean" something completely different. It's not a lot.

    But I tend to get into the comfort zone and notice myself using too much similar material. Kinda same problem.
    Been working on a list that might help to shake that.
    Nice topic.

  8. #7

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    ideas

    1) vary the melody
    2) vary the chords
    3) vary the register
    4) vary the fingering
    5) vary the articulation/phrasing
    6) don’t worry about it

  9. #8

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    Btw. When I was in jazz school, they asked me to do all kinds of variations. (without Christian's 6th one in the list). It become a huge burden. Like a main thing. The variations... ugh.
    I had a normal job with young student's pop band aswell. When comping them, I had to only worry about supporting with rhythm. The chords themselves were nice and simple.
    And it just worked well. Simple but awesome. Pushing some jazz with all kinds variations out for grades was hell and didn't work.
    I mean.. That 6th one on the list is as important as all the rest.