elvenkindje
08-01-2007, 09:46 AM
It's been a while.. Today's standard of the month will be Autumn Leaves. Like Blue Bossa, it was one of the first standards I've learned and I use it to warm up my fingers when I grab the guitar. The changes:
|: A-7 | D7 | Gmaj7 | Cmaj7 |
| F#m7b5 |*B7 | E-7 | E-7 :|
|*² B7 | E-7 | E-7 |
| F#m7b5 | B7b9 | E-7 | E-7 |
| A-7 | D7 | Gmaj7 | Gmaj7 |
| F#m7b5 | B7b9 | E-7 A7 | D-7 G7 |
| F#m7b5 | B7b9 | E-7 | E-7 |
Largely diatonic eh? I'll try to keep my analysis diatonic, because people have lost it a bit at my previous SotM.
It starts off with a ii - V - I - IV in the key of G. You should obviously play modes of the G major scale over the chords. A Dorian over A-7, D Mixolydian over D7, G Ionian over Gmaj7 and C Lydian over Cmaj7.
The next four bars are a bit trickier. It's a iim7b5 - V7 - i in the key of E Minor. Over the first chord, you can play F# Locrian (or F# locrian with a natural 2, because the 2 sounds lovely. You have to pay attention that you stop playing that note when the E- chord is there, because the 2 of F# is a G# and that clashes with E-)
The B7 chord comes from E harmonic minor. It's used to resolve better to the tonic chord. Over V7 chords in minor keys, you should play Phrygian Dominant (1 b2 3 4 5 b6 b7), so B Phrygian Dominant now. Over E-7, just play E Aeolian for now.
Next four bars, the iim7b5 - V7b9 - i in E minor again. After that, the ii - V - I in G. You know what to play.
F#m7b5 - B7b9 - E-7. This is the iim7b5 -V7 - i in E minor again, but the E-7 chord is used for something different now. It also functions as a ii chord!
E-7 A7 is a ii - V progression in the key of D major, so we play modes of that scale over these chords. Over E-7, we play E Dorian. Over A7, we play A Mixolydian. A7 resolves to D-7, making D-7 the i chord again. But as in the previous bar, the chord also functions as a ii chord.
D-7 G7 is a ii - V progression in the key of C major, so we play modes of that scale over these chords. Over D-7, we play D Dorian. Over G7, we play G Mixolydian.
G7 resolves to F#m7b5 (just take my word for it, I'll explain if anyone asks) and F#m7b5 - B7 - Em is something we already encountered.
Nice ideas:
- Instead of E Aeolian over the E- chords, play E dorian. I'd say it sounds better and most jazz guys do. Maybe even try Phrygian to see how you like it.
- Instead of G Ionian over the Gmaj7 chords, play G Lydian. The #4 in Lydian doesn't clash with the 3, like the 4 (from Ionian) does.
- Try tritone substitution for the dominant chords. If you don't get this, look at the MT Sticky FAQ.
- Chord tones, chord tones, chord tones. Play a lick, and it on a chord tone. When playing a lick over multiple chords, make sure to start the new bar off with a chord tone. You can diverse from this strat, but it's best to learn it this way for beginners.
- Play E minor pentatonic over the whole thing
- Play A minor pentatonic over the whole thing
- Play B minor pentatonic over the whole thing
- Over the E-7 A7 - D-7 G7 part... Play a lick over E-7 A7 and than play it two frets lower, so you have the same lick, but transposed to fit the new chords.
Just made a quick recording: http://guitarmark.dmusic.com/
I think that about sums it up. Any questions/additions? Feel free to post your recordings/comments/compliments/flames etc.
:cheers: Mark
|: A-7 | D7 | Gmaj7 | Cmaj7 |
| F#m7b5 |*B7 | E-7 | E-7 :|
|*² B7 | E-7 | E-7 |
| F#m7b5 | B7b9 | E-7 | E-7 |
| A-7 | D7 | Gmaj7 | Gmaj7 |
| F#m7b5 | B7b9 | E-7 A7 | D-7 G7 |
| F#m7b5 | B7b9 | E-7 | E-7 |
Largely diatonic eh? I'll try to keep my analysis diatonic, because people have lost it a bit at my previous SotM.
It starts off with a ii - V - I - IV in the key of G. You should obviously play modes of the G major scale over the chords. A Dorian over A-7, D Mixolydian over D7, G Ionian over Gmaj7 and C Lydian over Cmaj7.
The next four bars are a bit trickier. It's a iim7b5 - V7 - i in the key of E Minor. Over the first chord, you can play F# Locrian (or F# locrian with a natural 2, because the 2 sounds lovely. You have to pay attention that you stop playing that note when the E- chord is there, because the 2 of F# is a G# and that clashes with E-)
The B7 chord comes from E harmonic minor. It's used to resolve better to the tonic chord. Over V7 chords in minor keys, you should play Phrygian Dominant (1 b2 3 4 5 b6 b7), so B Phrygian Dominant now. Over E-7, just play E Aeolian for now.
Next four bars, the iim7b5 - V7b9 - i in E minor again. After that, the ii - V - I in G. You know what to play.
F#m7b5 - B7b9 - E-7. This is the iim7b5 -V7 - i in E minor again, but the E-7 chord is used for something different now. It also functions as a ii chord!
E-7 A7 is a ii - V progression in the key of D major, so we play modes of that scale over these chords. Over E-7, we play E Dorian. Over A7, we play A Mixolydian. A7 resolves to D-7, making D-7 the i chord again. But as in the previous bar, the chord also functions as a ii chord.
D-7 G7 is a ii - V progression in the key of C major, so we play modes of that scale over these chords. Over D-7, we play D Dorian. Over G7, we play G Mixolydian.
G7 resolves to F#m7b5 (just take my word for it, I'll explain if anyone asks) and F#m7b5 - B7 - Em is something we already encountered.
Nice ideas:
- Instead of E Aeolian over the E- chords, play E dorian. I'd say it sounds better and most jazz guys do. Maybe even try Phrygian to see how you like it.
- Instead of G Ionian over the Gmaj7 chords, play G Lydian. The #4 in Lydian doesn't clash with the 3, like the 4 (from Ionian) does.
- Try tritone substitution for the dominant chords. If you don't get this, look at the MT Sticky FAQ.
- Chord tones, chord tones, chord tones. Play a lick, and it on a chord tone. When playing a lick over multiple chords, make sure to start the new bar off with a chord tone. You can diverse from this strat, but it's best to learn it this way for beginners.
- Play E minor pentatonic over the whole thing
- Play A minor pentatonic over the whole thing
- Play B minor pentatonic over the whole thing
- Over the E-7 A7 - D-7 G7 part... Play a lick over E-7 A7 and than play it two frets lower, so you have the same lick, but transposed to fit the new chords.
Just made a quick recording: http://guitarmark.dmusic.com/
I think that about sums it up. Any questions/additions? Feel free to post your recordings/comments/compliments/flames etc.
:cheers: Mark