Members Virgman Posted March 23, 2006 Members Posted March 23, 2006 This is an interesting article. One way to skin the cat. Go to this site. Click on "Contents". Then "Helpful tip with example" link. http://www.drbop.com/ Opinions?
Members lazaraga Posted March 23, 2006 Members Posted March 23, 2006 i think that's a pretty good tip, for new and old alike. peace
Members Virgman Posted March 23, 2006 Author Members Posted March 23, 2006 I've been trying this and it works. Plus you add in (if you like) arpeggios, triads, and whatever else you want. I've found I can definately play over the changes much faster and it sounds better. A simple way to think. Of course you have to like the sound (bluesy). But I like that sound anyway. It's interesting.
Members gennation Posted March 23, 2006 Members Posted March 23, 2006 Schultz says..."Vary InterRessss-ting" I'll have to try the "resting chord" thing when I get home.
Members Virgman Posted March 23, 2006 Author Members Posted March 23, 2006 I like the "resting" part...Blues scale...blues scale...blues scale...The blues scale is the meaning of the universe.
Members Virgman Posted March 25, 2006 Author Members Posted March 25, 2006 Gennation, How diid this work for you? I am curious.
Members Mr.Bates Posted March 25, 2006 Members Posted March 25, 2006 what does he mean by resting chords?
Members Virgman Posted March 25, 2006 Author Members Posted March 25, 2006 The resting chord is the chord after the Dominant chord (Dominant is like a G7 - the V chord in the scale). So in a iim7 - V7 - Imaj7 the Dominant is the V7 and the resting chord is th Imaj7.
Members gennation Posted March 25, 2006 Members Posted March 25, 2006 Originally posted by Virgman Gennation,How diid this work for you? I am curious. Hey Virg, I haven't had a try at this yet. I'll try tonight.
Members gennation Posted March 26, 2006 Members Posted March 26, 2006 I'm not too sure about that C Blues throughout all those chords. I think G Minor Pent or Bb Major Pent sounds a bit more on throughout it. But. I can see where C Blues scale can come in here and there. But I think whats happening with all those ii-V and the chromatic walking chords you end up with the V allowing the Melodic Minor and Diminished scales giving it such a wide open sound that almost any notes starts to work. But, I defintely like the statements those maj7 chords make when they hit. The 'resting' chords are almost like you have to nail those chord tones when they hit. They just draw the direction of the sound into them. Pretty cool stuff though.
Members Virgman Posted March 26, 2006 Author Members Posted March 26, 2006 Thanks for the feedback. I've tried this with several jazz tunes. It is interesting. I used it as recommended but after awhile I just used the blues scale as a platform and then threw in chromatic notes and played it by ear. It seems to work just as well if you can do that. But you have to follow it along. On some tunes it takes a moment to find the right sound. I also used some arpeggios when appropriate and some other stuff to spice it up. Arps in the song key. Also other pentatonics. For example if it was in C and you were playing C blues then play G minor pent or G blues sometimes. At first I was really concentrating on using an arp or mode to match up with the "resting" chords but after awhile I just played it by ear, hitting chord tones. One thing is, you can use this to play over fast chord changes. I've been looking for a more more instinctive method to use on jazz tunes. This is helpful.
Members Virgman Posted March 28, 2006 Author Members Posted March 28, 2006 I emailed the guy who wrote this "trick" and he responded: Me: "Rick, Your "One way to soloing through difficult jazz changes" is interesting.. I tried it over several jazz tunes and it works pretty well. Do you use this approach also? How far can you take an approach like this?. I'm very familiar with blues scale and can hit the chord tones by ear when the resting chords are playing. Do you fill in with chromatic notes? Any advice you have would be great. This approach allows more freedom to me. Thanks. Virgman" Him: "Hi Virgman Yes I use that approach frequently, as do a lot of pop jazz/R&B players.....unfortunately, you're gonna have to practice those arpeggios to get the sound that you're looking for......you even said yourself that you, "....can hit the chord tones by ear when the resting chords are playing." That's basically what it's all about........Dick Grove once said, "Melody is all about decorating the chord tones, and rhythm is all about decorating the primary beats". A simple sentence that carries great weight! And yes, I do use a lot of chromaticism, but my sound is still quite "in the pocket" - it does not sound like I'm "playing outside" because I continually reinforce the sound of the momentary harmony with those chord tones on the primary beats......I probably play MORE chromatic notes than most, yet sound more tonal than most of those guys..... I am able to teach long distance with no problem (currently have students in Vienna, Denver, Austin, and Fort Collins), so please keep me in mind should you decide to study formally. In the meantime, don't hesitate to contact me should you have any further questions.... Hope that helped! -Rick"
Recommended Posts
Archived
This topic is now archived and is closed to further replies.