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Improvising over maj7 chords
- Thread starter Yonni
- Start date
Sharp your 4 in all your Major Chords and you will be much happier. Target 3s, 6s (13's), 9s (2's). There are great spots to use the natural 4...but it can be very stale in attempting to create tension and release.
This is a great example of Major Key note targeting and gives a longer example than just a passing phrase:
This is a great example of Major Key note targeting and gives a longer example than just a passing phrase:
Yes it was the grade 4 rock n pop exam. I was going to do it last year but Covid changed that.
It’s funny, I have been following this thread and was appreciating the interesting discussion. I’ve never really thought much about the inherent dissonance built into a M7 chord, probably because it just sounds so “beautiful” and perfect.
However, one song I’m currently writing has a couple of M7’s in it. Playing it unplugged on guitar everything sounded fine, but once I plugged it in, I was hearing something “not quite right” in the verse. Just us the OP described, it was actually the root in the bass that sounded slightly out of tune, if I had to pick a note/string. This conversation popped up in my head, and I checked what was happening with the melody. Toggling to a M6 for that part of the verse, kind of a common move, made everything “right” again.
Pretty fascinating, as that root note can’t really be “out” in any logical sense. But I believe it is the root vs. M7th dissonance being highlighted against that particular melodic passage.
However, one song I’m currently writing has a couple of M7’s in it. Playing it unplugged on guitar everything sounded fine, but once I plugged it in, I was hearing something “not quite right” in the verse. Just us the OP described, it was actually the root in the bass that sounded slightly out of tune, if I had to pick a note/string. This conversation popped up in my head, and I checked what was happening with the melody. Toggling to a M6 for that part of the verse, kind of a common move, made everything “right” again.
Pretty fascinating, as that root note can’t really be “out” in any logical sense. But I believe it is the root vs. M7th dissonance being highlighted against that particular melodic passage.
Groove Master
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- Apr 22, 2011
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Most of the time it is a problem with the voicing or the harmonization. That is why Major 6 exists and triads of course
. When the root is in the melody the M7 shouldn't be played. Rule #1 of Harmony ;-)
improvising..ie soloing?....
get away from the root, play off the maj6 of the 5th. ie... Amaj7 play Emaj6 ie E G# B C#
which will give you the 5 maj7 9 and 3 of the Amaj7
get away from the root, play off the maj6 of the 5th. ie... Amaj7 play Emaj6 ie E G# B C#
which will give you the 5 maj7 9 and 3 of the Amaj7
No improvise as in, “created spontaneously or without preparation”, a bass line to fit the chord pattern.
Understood, this information could be useful to open other ideas if you are so inclined.
Simple: try landing on the 3rd or the 7th of the respective chord instead of the root of the chord.
Here is a song for you to "train" your ear: Waiting In Vain - Soulounge.
Mostly, it's a rotation of Bbmaj7(9) - Ebmaj7(9).
And the bass is clearly announcing the roots of Bb and Eb with those maj7(9) chords.
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Barry Harris is talking about this exact problem here. Listen to his "boring" example where he's always landing on the 1 of each chord.
Great teacher, really gets into 6ths, but soloing over maj7 could be as simple as playing major Triad from the 5th or minor Triad from the 3rd. Gets you the money notes and avoids the root.
If someone gave me that chord progression and asked me to improvise a bass line, the first thing I would want to figure out is not the pitches but what are the stylistic considerations. I'd either figure this out by listening or by asking what they want in advance. I would probably assume the key of "E". I would more than likely start off very simply. Play the roots. Maybe play some triads and maybe add some diatonic (or non-diatonic) notes to lead into the next chord. I would probably mostly leave the 7ths (and other upper extensions) to the more traditionally-accepted chordal instruments. I wouldn't approach it like I have to demonstrate every note that can be played on each chord. Make a little melody that weaves through the root note of each chord, which is really what good bass lines are. I don't think anyone would ever fault you for playing the root notes and keeping it simple. If you start simple you have somewhere to go but if you start right off playing every note possible then you have nowhere to go.
I think it can take a little time for many to get used to the sound of a Maj7 chord. I think some hear that 7th note as "clashing". Same story with a Maj7#11. At first that #11 sounds a little off but once you get used to the sound it sounds wonderful when played right.
Improvising a melody or solo is a different animal.
I think it can take a little time for many to get used to the sound of a Maj7 chord. I think some hear that 7th note as "clashing". Same story with a Maj7#11. At first that #11 sounds a little off but once you get used to the sound it sounds wonderful when played right.
Improvising a melody or solo is a different animal.
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Hitch hiking on Scot's post -- As the Amaj7 seems to be the problem; I think moving to minor may do the trick, so Am6 may be the answer, just keep messing with the Amaj7 until it does work, aka sound OK..
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