1. #1

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    I’ve been stuck in a rut for 18 years (give or take) but I finally, finally was able to play over changes correctly. I did it by pulling the old switcheroo! I played the D scale over A7 (and Em7) and the A scale over the Dmaj7. Rinse and repeat two more times as it moves to C and Bb…

    Tune Up

    Em7 and A7: play D major scale
    Dmaj7: play A major scale

    Dm7 and G7: play C major scale
    Cmaj7: play G major scale

    Cm7 and F7: play Bb major scale
    Bbmaj7: play F major scale

    Em7 and F7: play Bb major scale
    Bbmaj7 and A7#9#5: play Bb major blues scale

    I’m honestly surprised how well this worked. I think it’s because the 4th of each 7 in the assigned scale is a perfect 5th away. So for A7’s b7 (G), the D is P5 away. For Dmaj7 maj7 (C#), the G# is P5 away. A nice little jazz power chord!

    Bb major blues is oddly a good fit for A7#9#5: b9 #9 3 (4) #5 b7

    Plenty of room to use jazzier scales (Lydian dominant over the 7th chords; altered scale over the A7alt) but this was a great start.

    Including here in case it helps some of the other hacks like me…

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Another way to look at that is D Ionian to D Lydian, etc. This creates a sense of movement by shifting to the #4 in the D major chord, giving it the Lydian sound, but thinking of it as D Lydian instead of A major (Ionian) keeps the resolution focused on the chord tones.