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11-01-2007, 04:20 PM
| | Registered User | | Join Date: May 2006 Location: Sweden Norrköping | | | Jazzcats, What mode to play?
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I study music fulltime and right now I am working with the The Girl From Ipanema and soloing in the modes.
My teacher wrote down what modes to play over each chord but he missed one...
I play the tune in F-major (from the Real Book sixth edition) the chord is c7b9(#11)
Some surrounding chord progression
Eb7, A-7, D7b9(#11), G-7, C7b9(#11), Fmaj7...
To me it seems like it is a V in a II, V, I progression. So maby C-mixolydian with b2 and #3 am i right?
Feel usless to to practice if it is wrong. Practice makes permanent...  |
11-01-2007, 04:42 PM
| | zzzzzzzzzzzzzzz | | Join Date: Apr 2004 Location: Scotland | | Quote:
Originally Posted by musicman swede  I study music fulltime and right now I am working with the The Girl From Ipanema and soloing in the modes.
My teacher wrote down what modes to play over each chord but he missed one...
I play the tune in F-major (from the Real Book sixth edition) the chord is c7b9(#11)
Some surrounding chord progression
Eb7, A-7, D7b9(#11), G-7, C7b9(#11), Fmaj7...
To me it seems like it is a V in a II, V, I progression. So maby C-mixolydian with b2 and #3 am i right?
Feel usless to to practice if it is wrong. Practice makes permanent... | It's an altered dominant chord. There are so many things you can do with it.
Try C superlocrian:
C, Db, Eb, Fb, Gb, Ab, Bb
or C half/whole diminished:
C, Db, D#, E, F#, G, A, Bb
or even C locrian
C, Db, Eb, F, Gb, Ab, Bb
Last edited by dlloyd : 11-01-2007 at 04:44 PM.
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11-01-2007, 04:47 PM
| | Registered User | | Join Date: Oct 2006 Location: Wilmington, NC | | | Agreed, I'd also probably go with superlocrian (aka altered scale or diminished whole-tone) on that one.
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11-01-2007, 05:49 PM
| | Registered User | | Join Date: Feb 2007 Location: Los Angeles, CA | | | What the others have said covered it.
What to work on doing is to target the Juicy Note. Practice playing the b13 of C7 alt just before it changes to the F Ma7 and have it resolve to the 3rd of FMa7. Get that Ab-A as the chords change, and you'll sound like an old pro.
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11-01-2007, 06:02 PM
| | Registered User
President, HittStreet.com; Endorsing Artist, Schroeder Cabinets | | Join Date: Jun 2004 Location: Missouri, USA | | | Ask TBer "Basshole" (Marcelo Gilberto).... Astrud Gilberto was his mother, and he used to play bass in her band!
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11-04-2007, 08:45 PM
| | Registered User | | Join Date: Apr 2005 Location: 97465 | | | Or just play the chord/scale as written: C Db E F# G A Bb
...whatever sounds good to you
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Last edited by ryco : 11-04-2007 at 08:48 PM.
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11-05-2007, 01:53 AM
| | Temp Banned (TOS Violation)
Endorsing: Ampeg | | Join Date: Apr 2005 Location: Apopka, FL | | Quote:
Originally Posted by Dave Muscato Ask TBer "Basshole" (Marcelo Gilberto).... Astrud Gilberto was his mother, and he used to play bass in her band! | Holy cow! That's amazing! Man, that must have been quite an experience having the queen of bossa nova as your mom! |
11-05-2007, 03:13 PM
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Endorsing artist: Skjold basses,Zon basses, Accugroove, D'Addario | | Join Date: Jun 2005 Location: Portland, or | | | Chord scale
true all!
I tend to take each chord and build my scale based on what the chord is telling me (with sharp attention to where I'm coming from and where I'm going!).
If I see a C7 b9 #11 I first think C7, and then I flat the 2 and sharp the 4 and there's what I'm thinking. (C Db E F# G A Bb C)
I think many people have the problem I have, which is having trouble remembering which scale is appropriate for every chord (if you can, more power to you!). So I've always just build the scales in my head as I'm improvising over the changes. One shortfall, is that I've become dependant on charts in order to really play effectively over changes. That's also partially due to the fact that I'm a freelance guy and have never played jazz exclusively... only occasionally.
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