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Author Topic: me playing over a minor II - V7 - I  (Read 1352 times)

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Offline bluesviolin

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me playing over a minor II - V7 - I
« on: Oct 14, 2019, 08:35:57 PM »
I may have posted this quite a while ago but if so, don't care, posting it again.

intonation isn't that great in several places but anyways.... Dmin7b5 > G7#9 > Cmin

https://www.youtube.com/watch?v=rdi6VnSX4FI

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Offline graeme

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Re: me playing over a minor II - V7 - I
« Reply #1 on: Oct 15, 2019, 08:17:40 AM »
Loved it, Blues.

I always think of jazz as made for saxophones: long, flowing lines, snippy figures that can spin on a small coin, big jumps, no jumps. You got most of that in one ("17th") take. Beautiful.

But Miles started to blow like a boxer, dance in, fire off a flurry of leather, dance out, circle, wait, dart in a few more jabs.

It's a wonderful thing, jazz improvisation.

Well done.

Offline bluesviolin

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Re: me playing over a minor II - V7 - I
« Reply #2 on: Oct 15, 2019, 10:11:11 AM »
thank you, graeme. a spin on that famous quote "dying is easy, comedy is difficult".... for me it would be "dying is easy, Jazz is difficult"

but I can not tell a lie, I ripped off those lines from Jamey Aebersold, who offered 16 of them in his play along 'The II - V7 -I Progression'. I simply don't have that much melody in me to make those lines up my self, not for those chords anyways. I picked out about 6 of my favorites and strung them together, and just improvised over the Cmin.

I find the scale types for the min7b5 and the dom7#9 to be very interesting.

the Dmin7b5 is the Locrian scale D, Eb, F, G, Ab, Bb, C, D
the G7#9 is the diminished/whole tone scale G, Ab, Bb, B, C#, D#, F, G

I particularly like the diminished/whole tone which Jamey says "produces much tension and beauty". I agree with him.



 
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Offline graeme

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Re: me playing over a minor II - V7 - I
« Reply #3 on: Oct 16, 2019, 01:10:03 AM »
First, Jamey would be proud of your approach to ripping off patterns, joining them together, and improvising.  It is the basis of his approach to teaching improvising, and it works for most people.

Second, I admire you for using the notions of "Locrian" and "diminished/whole tone" as scales.  Learning these in all 12 keys must be a job in itself, especially on any string instrument of the violin family.  I would be content to understand the Locrian as a major scale starting a semitone above the m7b5 chord root, and the diminished/whole tone scale as a melodic minor ascending form, beginning a semitone above the chord root.  To apply these to the relevant chord, break into the scale on a chord tone.

Jerry Coker has written that all these fancy scales can be achieved with the major scale and the melodic minor ascending form (and, of course, lower the third of the major scale to produce the melodic minor scale on the same tonic).  The two problems are (1) the diminished chord, and, if you need it, (2) the whole tone scale, neither ow which are covered in the approach here.  Keep the blues scale in the mix for fun.

Anyway, your stuff was very interesting to listen to. Keep at it.

Offline bluesviolin

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Re: me playing over a minor II - V7 - I
« Reply #4 on: Oct 16, 2019, 02:34:22 AM »
....speaking of Jerry Coker....I've also got a book written by Jerry Coker, Jimmy Casale, Gary Campbell, and Jerry Green called Patterns for Jazz. I thought the section on 'Major Scale in Fourths' sounded very cool. the book says....

Fourth intervals have become extremely popular among improvisers in recent years, both because the interval interests them, and because fourths tend to to break away from the sound and rigid function of thirds. The following studies will help prepare the student to play general fourth intervals (sometimes perfect, sometimes augmented) as they are determined by the tones of major and minor scales.

I put quite a bit of time into these a couple of years ago.... because I really liked them. I figured any thing to do with the major scale should be able to flip into the modes of the major scale, so I tried them for mixolydian and dorian and it seemed to work. not that easy to navigate thru them on violin tho.

PS. I really couldn't follow the way you thought out those scales. waaay over my head. But I imagine you are used to that!  :D

« Last Edit: Oct 16, 2019, 02:46:26 AM by bluesviolin »
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Offline graeme

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Re: me playing over a minor II - V7 - I
« Reply #5 on: Oct 17, 2019, 12:30:32 PM »
Dm7b5 uses the notes D, Eb, F, G, Ab, Bb, C, D: which are the notes of Eb major scale.  The first strong beat of the Dm7b5 chord should be a note from the chord, then use scale tones with your groovy rhythm.

G7#9 uses the notes G, Ab, Bb, Cb, Db, Eb, F, G: which are the notes of Ab melodic minor scale ascending. Break into the scale on a chord tone.

It helps melodically, to connect chords, by entering the new chord with a semitone movement (and this doesn't have to fit the chord, current or next).

Yes, I have the Coker et al pattern book, too (bass clef and treble clef.) Good investment.

 




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