Comments

• Twang New

  May 2020 Posts: 417

  Bones

  May 27, 2020

  Hey Spatz, I think the OP was asking about how to navigate this part.

  |  Am       |  E7       |  Am       | Cm       |   

  |  G          |  B7          |  Em7     |  A7        |

  If you find that simple at fast tempos more power to you but most of us novices would have a very hard time "hitting" all those changes as they fly by for one measure. So one possibility is to just ignore the E7 in the first line and just play Am ideas for 3 measures. That is what is meant by simplifying (to answer your question).

  This is exactly right Bones (and Buco) many thanks and to all the other contributors here. Some great advice, I’m feeling better already!
• Twang New

  May 2020 Posts: 417

  
  
• spatzo Virtuoso

  May 2020 Posts: 771

  ok !
• spatzo Virtuoso

  May 2020 Posts: 771

  I think that a good way to solo on After You've Gone is to point the guidetones that make a line through the chords :

  e eb d c# c b g

  
• Buco NOVA, DCDeity Ivanovski maple/spruce

  May 2020 Posts: 5,270

  Bones

  May 27, 2020

  The other thing to point out over the troublesome section is that the melody stays very much in the original key with just some approach notes for color.

  Exactly, thanks @Bones that why playing a solo that follows the key mostly works and it usually won't sound "wrong". On the other hand trying to chase a chord and play chord tones over unintended chord might.

  

  Every note wants to go somewhere-Kurt Rosenwinkel
• Twang New

  May 2020 Posts: 417

  Do you think a lot of players think in keys centres rather than chords then Buco? I could argue that it’s easier to generate melodic ideas with chords but I think I’d be on shakey ground here.

  what If I said the best melodies most often come from arpeggios? 🤭
• littlemark New

  May 2020 edited May 2020 Posts: 376

  Twang

  May 27, 2020

  Do you think a lot of players think in keys centres rather than chords then Buco? I could argue that it’s easier to generate melodic ideas with chords but I think I’d be on shakey ground here.

  what If I said the best melodies most often come from arpeggios? 🤭

  I do not think most people think in key centres. There are many times where that will clash unintentionally.

  
• Twang New

  May 2020 Posts: 417

  I agree but it’s do-able if you know where the harmonic pitfalls are and can side step them I suppose.
• King_Cardboard New

  May 2020 Posts: 76

  Twang

  May 27, 2020

  Do you think a lot of players think in keys centres rather than chords then Buco? I could argue that it’s easier to generate melodic ideas with chords but I think I’d be on shakey ground here.

  what If I said the best melodies most often come from arpeggios? 🤭

  I mean even scales are arpeggios if you’re thinking of a big enough chord voicing
• littlemark New

  May 2020 Posts: 376

  Twang

  May 27, 2020

  I agree but it’s do-able if you know where the harmonic pitfalls are and can side step them I suppose.

  That's true, but if you take the time to figure out the pit falls and how to avoid them you might as well just spend the time working on soloing over the chords. It feels like a fools errand otherwise.

  Where a key centre would work well would be if you are playing kind of blue 🙃.