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Hi wim, thinking about it more and you're definitely spot-on about blazing canned licks over Limehouse and other super up tempo tunes. I like to think I'm mostly improvising but on nights when I'm not hearing a lot, all the "failsafe" arpeggios and licks come out strongly, which is when things get too repetitive after a few choruses. Then again, majority of listeners don't really gaf about repetitious solos unless they're players so in that sense, maybe I'm overthinking it.
Interesting about Djangology. Personally, it's quite possibly one of my favorite tunes to solo over but I've definitely heard from others that it can get frustrating to find new ideas. I like to distinguish the B section from the A section by playing mostly AbM7 and AM7 licks/arpeggios over the B before moving back into A7 for the A again - the contrast is really nice sounding, imo. As for the A section, one other thing I recently discovered is playing Cm6 licks instead of a D7 over the second chord...I guess I'm lame for having relied upon on the Real Book changes for so long but knowing that going from a Cm6 to Em7 works as a substitute for the D7 to GM6 has really opened up more 2-5 possibilities into the Am6/D7 2-5 back to the G.
Wow, I just tried working with this idea - great tip! I basically played the G diminished scale over the C7 and then for the A7 I played the usual A diminished-inspired (and mixolydian) stuff I've already been doing - fantastic sound & contrast, definitely going to incorporate!
"Very Early" (Bill Evans)
Something Steve Vai said which I wholeheartedly embraced is "I always go for a low hanging fruit".
I love that. Sometimes low hanging fruit can be juicy.
Ok, apologies, here's a tune a bit outside the genre, but with an oh-so-lovely melody...
is it just me, or is it tough to improvise over the changes...?
Will
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."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
is it tough to improvise over the changes...?
Will,
although McCartney is doing it in Eb here, I find it fairly accessible in the more usual key of C .
The A section melody is around the C major pentatonic and C major stuff works (with a few optional chromatic notes for the dominant alterations). The bridge is a fairly standard E min progression.
.
Thanks, Bill.
Playing it in C is a great idea for me right now, because this tune is kind of busy chord-wise.
I've been trying to play it unaccompanied and it's real easy to fall off of the chords...
I think part of what makes it hard for my ear to hear the changes is the way that beautiful pentatonic melody over the Am7 chord uses all the chord tones of an Em7 chord!
So when you are improvising, which arp do you use? They both sound wrong!
Will
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."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
One trick is to remember any dom 7th chord is the V7 of its parent scale and tonic key.
C7 - from F major or F minor (harmonic or melodic)
A7 - from some form of D as above
D7 - from G
and so on.
So when you are improvising, which arp do you use
Not sure how useful this will be to you Will, but I tend to use A min 9, 11 ideas over the A section along with diatonic runs and hunt and peck for good notes from C tonic territory throughout. Also its useful to address the minor II V Is.
As it's usually taken at slowish tempos there's a bit of time to respond to the harmony.