Members gnr2391 Posted October 14, 2009 Members Posted October 14, 2009 When studying a tune that is either really fast or has difficult chord changes, like Oleo, how should I approach it in the most efficient way? How can I make myself good at soloing over something like this in the most efficient way? Any input would be IMMENSENLY appreciated. Thank you all so much.
Poparad Posted October 14, 2009 Posted October 14, 2009 First step, take it slow. Identify sections that are in a key together, and identify parts that change keys. Are there any harmonic patterns (like the cycle of dominant 7ths in the bridge on Oleo)? Something that helped me out with rhythm changes in particular was to play through the song only using arpeggios of the chords. No scales, just 7th chord arpeggios played in constant 8th notes. When the chords change, just move to the nearest chord tone of the new chord, so there's always a melodically unbroken line. This will help train you to see the harmony and to see how the harmony connects together. Another possible tool is to see how many variations you can find that still function the same way. For the first two measures of Oleo, these changes are all more or less equivalent: | Bbmaj7 G7 | Cm7 F7 || Bbmaj7 | Cm7 F7 || Bbmaj7 | F7 || Bbmaj7 | Cm7 || Bbmaj7 G7 | Cm7 B7 || Bbmaj7 Db7 | Cm7 B7 || Bbmaj7 Db7 | Gb7 B7 || Bbmaj7 | B7 || Bbmaj7 Bdim7 | Cm7 F7 || Bbmaj7 Bdim7 | Cm7 Adim7 || Bbmaj7 Bdim7 | Cm7 Cdim7 || Bbmaj7 Bdim7 | Cm7 B7 || Dm7 G7 | Cm7 F7 || Dm7 Db7 | Cm7 B7 | etc, etc... All of those changes either involve diatonic substitutions (replacing one chord in a key with another that shares many of the same notes), tritone substitutions (replacing one dominant 7th chord with a dominant 7th chord a tritone away), or simplification of the changes (turning a ii-V into just a ii or just a V, removing the G7 because it's just a decoration for the Cm7 chord, etc). Having different perspectives on the changes not only gives you a better understanding of how the harmony works, but also gives you more options to add to your vocabulary.
Members heavy D Posted October 14, 2009 Members Posted October 14, 2009 When studying a tune that is either really fast or has difficult chord changes, like Oleo, how should I approach it in the most efficient way? How can I make myself good at soloing over something like this in the most efficient way? Any input would be IMMENSENLY appreciated. Thank you all so much. Oleo? it's just ryhtim changes? The hard thing is the chords move really fast. The easy thing is they all sort of move to the same place. The important thing to learn about jazz isn't scales, it isn't theory, it's FUNCTION. Learn how the chords function. Mainly this means which chord is leading to which other chord. The tricky thing is this can change depending upon your line. But basically: I | IV | ii | V | You have: I -consonantIV-leadingii -consonantV -leading When you understand this you understand that you have much more leeway with the leading chords that you do with the consonant chords. It's important to undertsand the ii-V relationships in this sequence as well as the dimished relationships. For instance, instead of: Bb | Gmin | Cmin | F7 you could have; Bb | Bdim | Cmin | Dbdim | So instead of a V7 chord you have a diminished chord. But the most important thing is you have to understand that in terms of function the two sequences are the same thing. After that it's all about vocabulary- just listen to what your favorite players do over the tune. If you don't have a favorite version then you need to give up and play a different style of music....
Members jonfinn Posted October 14, 2009 Members Posted October 14, 2009 When studying a tune that is either really fast or has difficult chord changes, like Oleo, how should I approach it in the most efficient way? How can I make myself good at soloing over something like this in the most efficient way? Any input would be IMMENSENLY appreciated. Thank you all so much. My opinion for what it's worth: -Listen to as many versions Oleo as you can find. Spend a lot of time LISTENING. Get the sound of the song (and it's interpretations) in your ears. -Learn the melody of the song. Knowing it means you can play the melody. -Learn the chords. Knowing them means that someone else can play the melody over your chords and it sounds good/makes sense. -Transcribe other people's solos and formulate your own opinions about why you think they did what they did. Formulate opinions about what you like/don't like about those solos. -Write your own "ideal" solo (pre-planned, not improvised yet) over the tune. Learn to play it as well as you can. -Little by little, allow your "perfect solo" to morph itself into new directions as you feel inspired. Lemme know how it goes. Good luck!
Members gnr2391 Posted October 14, 2009 Author Members Posted October 14, 2009 Thank you all so much! I am definitely going to get working on this.
Members gnr2391 Posted October 14, 2009 Author Members Posted October 14, 2009 Actually I have some more questions: How does this work?:| Bbmaj7 Bdim7 | Cm7 F7 |- How can the Bdim7 replace the G7? The B diminished has a G sharp. Also, how does this work?- | Bbmaj7 Db7 | Gb7 B7 |-I don't understand how the Gb7 works. Also,how can a Db7 replace the F7. You guys are the best. Thanks a ton. If any of you have bands or solo projects, I would love to make it up to you guys by promoting your names.
Members jonfinn Posted October 15, 2009 Members Posted October 15, 2009 Actually I have some more questions:How does this work?:| Bbmaj7 Bdim7 | Cm7 F7 |- How can the Bdim7 replace the G7? The B diminished has a G sharp. Also, how does this work?- | Bbmaj7 Db7 | Gb7 B7 |-I don't understand how the Gb7 works.Also,how can a Db7 replace the F7. You guys are the best. Thanks a ton. If any of you have bands or solo projects, I would love to make it up to you guys by promoting your names. Notes from G7: G, B, D, FNotes from Bdim7: B, D, F, Ab (or G#) The notes in Bdim7 give you all the notes of G7b9 (G, B, D, F, Ab) but without the root (G). That's how. Db7 replacing F7: not exactly sure it's replacing F7. In your example it might be best explained backwards: B7 is a "subV" (substitute dominant) of Bbmaj7. In this case, B7 replaces F7. F7 (F, A, C, Eb) and B7 (B, D#, F#, and A) share two of the same note (Eb/D# and A). That makes them "functionally interchangeable". Gb7 is the "V" of B7. Db7 is the "V" of Gb7. Therefore, Db7 -> Gb7 -> B7 -> Bbmaj7 Use mixolydian over all the 7th chords except B7 (use Lydb7 instead). Oh, and please feel free to tell all your friends about the band! No, we don't use the dancing girls anymore. Budget cuts!
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