El Kiko -> RE: Soloing over Dominant 7 Chords (Jul. 22 2012 1:21:55)
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I saw the title of this post and thought ...yeah ..., I been there before ,,,,,long ago , avoid it ... but youknow I cant ...anyway ,A long time ago now I was talking to jazz guitarist called Howard Roberts (who you can find on you tube and is a great thinker and teacher ) about the improvising thing and he mentioned to me that really 'within that idiom ' you can justify any note against a dominant chord, , with only one exception ,,,.... of course you would be starting ...root ., .7b9.,.9.,.7#9 ..3rd etc ... until eventually you reach the exception which is the major 7th..and yet he said you could still justify it as a ' passing tone ' if needed .. this leaves you with the full chromatic scale , of course it depends on how you play it as to what you will achieve . A week or so later I remember , based on that conversation , what notes can you justify against a dominant chord , I wrote a slidey type of blues/swing thing where every beat was about a semitone away from each other , and yet followed the 3 chord blues rule ...so the root was ..eg A7, Ab7, Bb7...and then change to D7(or 9)Db7and D#9 ,,,etc etc so therefore it would cover any discrepancy of the justification of notes, bearing in mind that each chord was only one beat long ....at ..lets say120 bpm ..typical swing ..... It gives you the whole chromatic scale ,,, ok try not to dwell on the Major 7th , but apart from that , no one can say you are wrong , in theory , only they like or they dont like ....as always ...... This tune was called "Diarrhoea blues '....f course because you can just push it all out and never be wrong ....( no copy exists,but I recall the saxophone player really went to town on it ....).... because basically ....against a bunch of dominant chords ..you can play whatever you want ,,,be inventive ...use motifs , shapes ..put your personality on it ,,, the only thing I see on the sequence you mentioned ,,,is one of the first things in jazz stuff ....( I know its not the same , but harmony is harmony ) is that the 3rds and 7ths define the chord , strangley enough ..not the root ...not until the end anyway .... So .....G7 ...gives you an F and and B note ....find them two then .....slide down 1 fret ......both notes ....and you have E and Bb ..for your C7 chord ......(although you notice now that the 3rd and 7th are the other way around ....slide down another fret ....to , Eb and A ...etc ...this happens basically because of the cycle of 5ths you are following ....etc etc .... Now I know that its flamenco you will be playing and not swing ... but tricks are tricks and what you would do with this lot is change the notes before the chord changes I do not know how many beats you have per chord, but lets say ......2 bars each chord .....so G7would be 8 beats long ... ....anything you want for 1 and a half bars , in the last 2 beats you would aim for a E , Bb kind of thing( anticipation ) and the chord would then catch up to you (C7) .......everyone thinks your cool , cos you predicted the future and it sounds great ....you get the girl etc etc ............ Of course its a practice thing ,,,,above all ...put your personality on it ....really .......... I see this is worse to write than play .....think about it for me ....maybe 5 mins ........
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