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Soloing over Blue Bossa


plopatto

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Posted

I'm trying to learn how to solo over the standard Blue Bossa.

 

For maximum simplicity, I could play C Aeolian (C natural minor) over the first, second, and fourth 4 bar phrases, and Db Major over the third 4 bar phrase, correct?

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Posted

that is an OVERT oversimplification, but yes. From a harmonic analysis perspective that is nearly 100% correct. I think that as far as approaching this tune as a gateway to then learning more complex tunes, the keys is that NOW, when there is not THAT MUCH modulation going on, it is EASIER to address each chord individually, as most chord tones reside within one parent scale, but certain things, like the G7 chord need to be addressed (there is a B natural instead of or in addition to a Bb...)

 

I think that the best way to go about htis is to really try to play some arpeggios and then guide tone lines based on the changes, just to get them in your head and under your fingers.. once you have mastered those and the melody for the tune, the rest should come pretty easy...

 

If you need any further elaboration, please feel free to ask...

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Posted

 

I'm trying to learn how to solo over the standard Blue Bossa.


For maximum simplicity, I could play C Aeolian (C natural minor) over the first, second, and fourth 4 bar phrases, and Db Major over the third 4 bar phrase, correct?

 

 

If that is what you need to gain the confidence to solo over this tune, then use these scales. I highly recommend though you consider Danny's advice. If I were starting over again, I too would only allow myself to play the root, 3rd, 5th, and 7th of each chord, and no other notes, until I got so good at finding these chord tones that I would still sing them out loud if somebody woke me up at 3 AM.

 

I would also steal as many licks by ear as I could from Dexter Gordon's solo below - he keeps his phrase and note choices simple for the majority of his solo, heavily emphasizing hearty tone, killer swing feel, and attitude in his horn over shredders' speed.

 

[YOUTUBE][/YOUTUBE]

 

I posted up a Blue Bossa solo a while back, before it got erased from my hard drive by hardware failure. The most useful feedback I got was "I can't hear the chord changes in your solo". If someone took away the backing pianist/guitarist, he could not hear what chord I was soloing over. The ability to imply the changes in your solo is not absolutely required for soloing at all times, but it seems like all the great jazz soloists have it and can deploy at will. And this ability starts with... knowing your chord tones/guide tones.

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Posted

 

I posted up a Blue Bossa solo a while back, before it got erased from my hard drive by hardware failure. The most useful feedback I got was "I can't hear the chord changes in your solo". If someone took away the backing pianist/guitarist, he could not hear what chord I was soloing over. The ability to imply the changes in your solo is not absolutely required for soloing at all times, but it seems like all the great jazz soloists have it and can deploy at will. And this ability starts with... knowing your chord tones/guide tones.

 

 

Just some further thoughts on G's response...

 

Beyond hearing the chord changes when someone solo, hearing the melody is the real deal.

 

Think of it this way, how many jazz tunes have the same chord changes in them, TONS. But how many jazz tunes have the same melody in them, very few (there are some).

 

So, it you have 5 tunes to play that consistently have II-V-I (Major or Minor) in them...if you just play the changes you could very likely end up playing to same solo, because you could be playing over the same chords all the time. This is due to the common harmonic structure that creates the changes. But if you stick to the melody, each tune you play is going to have a different solo (feel, vibe, forward motions, anticipations, etc...).

 

Can you imagine some of these standards in the hands of a group with four soloists, and all the soloists did was play the changes? You would have four guys practically playing the same solo's over every tune! But if they explore the melody, now you have four different melody approaches to the song.

 

When you listen to the greats every little phrase they play is a melody in it's own and it consists of a lot more than the structured changes.

 

While it's good to learn how to navigate changes, the melody it the what makes the song what it is. And, it's also what keeps the solo from sounding like he's playing the same solo over and over.

 

Just some thoughts.

 

[EDIT] Listening to that Gordon version is exactly my point, he's not playing changes, he's playing melody in every little phrase he plays. And he's playing notes that clash 'chord wise' but that compliment the direction of his melody.

 

One thing you can learn big time from his solo is...completely melody and let everyone know your' starting it again...IOW, NAIL a line for the first measure of the song each time it comes around...that's the fuel to get you exploring the melody again. Listen how aware he is when the melody starts over and listens how he deals with it...he let's lets YOU know where the melody starts over...THAT's the beginning of playing jazz in general.

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Posted

 

I posted up a Blue Bossa solo a while back, before it got erased from my hard drive by hardware failure. The most useful feedback I got was "I can't hear the chord changes in your solo". If someone took away the backing pianist/guitarist, he could not hear what chord I was soloing over.

 

 

I unfortunately cannot repost my track, but my approach for the solo was to play melodies that I made up in my head during recording, with the intention of referencing the original melody in some way or another. The lack of reference to the underlying chord changes was probably most blatant towards the end of the solo, during which I was blatantly imitating Pat Metheny.

 

Like I said, I realize that it is not essential to always refer to the changes in one's solo, but the ability to do so at will seems to be there in all great jazz soloists and is a useful ability to develop. No question in my mind Dexter Gordon could reference the changes whenever he felt like it.

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Posted

I can't remember the exact source of the quote, but somebody once said that they think of melodies and solos as "horizontal harmony." deep, hey? :p

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