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Improvisation question: Nuages

bluemovesbluemoves New
edited September 14 in Licks and Patterns Posts: 5

How do folks usually address the fist 2 bars?

(let’s assume we’re in G)

so, either bVI7 / V7(b9) / ... (I) or (preceded by their respective ‘ii’s - b3m7/bVI7 / iim7b5/V7b9 ... (I))

Is it best to treat them independently as isolated non-diatonic ii/Vs i.e. Major ii/V in Ab / minor ii/V from the parallel minor of G and try to connect the lines convincingly..? (I mean, I don’t see that there’s much other choice...?)

Is there a specific scale that ‘works’ on the bVI dominant, I’ve tried Lydian dominant and it doesn’t seem ‘perfect..’ Wondering if there’s a ‘secret’..?

everything I play seems ‘shoe-horned to fit and doesn’t flow particularly well ‘melodically’.

may well be to do with a lack of talent! 😩😂 but would love to know if there’s a clever ‘trick’ to make up for that!!

(Maybe I'm thinking about the harmony wrong? I see different charts label it differently..)


  • adrianadrian AmsterdamVirtuoso
    Posts: 484

    I think you're overthinking it. :) You can play a bar of Eb7/Eb9, then a bar of D7/D9.


  • Posts: 2,878

    As Adrian Said. Also not every chord has to be outlined every time, all the time. Take a breath for two beats then Eb7/9, breath for two beats then D7/9. Or you could play Bbm and Aø phrases in those same places. Also you can take a melody note that falls on the respective chord and create a short phrase around that note (I would just rely on my ear, not any particular theory guidance). Some players just play the 5 chord in 2/5 sequence.

    Every note wants to go somewhere-Kurt Rosenwinkel
  • pdgpdg ✭✭
    Posts: 135

    Maybe. Eb9 for first bar, then D7b9 for second bar.

    Or, think Eb7 and D7, but keep the descending melody in mind so that, if you play one of these 9th or flatted 9th notes during your soloing, it will be the right one (depending on when you play it).

  • Wim GlennWim Glenn oƃɐɔᴉɥƆModerator 503
    Posts: 1,130

    yeah Am7b5 works better (than D9) for the second bar, as Buco already alluded to. D7/9 is a little "clashy" with a natural 9th (especially so against the melody). Maybe you can get away with it in the solos if you have a rhythm player just playing straight dominant chord there, and allowing the soloist that space.

    But Am7b5 is kind of easier anyway, because you can pull out all your Cm6 licks.

    vanmalmsteenBill Da Costa Williams
  • bbwood_98bbwood_98 Brooklyn, NyProdigy Vladimir music! Les Effes. . Its the best!
    Posts: 478

    What everyone else said!

    I think a super useful idea is to create some long lines in which you change the arpeggio; or scale, start on F (9th of Eb)on say the and of one, go up a Eb7 arpeggio until the and of 4, on the one of the next measure start up a D7, or for a wilder flavor (to be sure I ended my ascending Eb7 on a Db at the 6th fret of the G string) play D, Eb, F#, G, A, Bb, C#, D; then either keep up to on a G major idea, or go down . .

    Lots of very similar 'limited' improvisation drills are possible. up, down, in position, scales, arpeggios, and on and on.

    Also - I can only get these ideas out super slow usually being a rhythm player!

  • edited September 15 Posts: 1

    Usually just feel it, but a couple of less travelled approaches i dig (when purposefully trying to not play my default lines ha);

    Can treat the Eb7 as a tritone sub for lead outlines A7 D7 G (can get clashy, but can experiment)

    Another is to play G dim7 over Eb7 , F#dim 7 over D7 then resolve to G. I suppose sound is a little off (Eb7b9) but can make it work and it's easy on the fingers :) Plus, there's then a G and an E (or Fb to be pedantic ha) in bar 1, and then these reappear in bar 3 if you use G6 :)

  • Listen to some of the Joe Pass versions for some neat ideas.

  • Lango-DjangoLango-Django Niagara-On-The-Lake, ONModerator
    Posts: 1,458

    for the changes I like

    bar one: Eb9

    bar two: two beats of Am7b5 and two beats of D7/Ab

    Paul Cezanne: "I could paint for a thousand years without stopping and I would still feel as though I knew nothing."

    Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
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