#1
Currently I'm trying to improvise on All the things you are in Ab. Most of the song I can just simply improvise over, as it's mostly simple ii V I progressions, but at a certain point I come across these annoying four bars I just can't work out. These four bars have been presented to me in multiple ways:

|DbΔ|Gb13|C-7|B°7|

|DbΔ|Db-7|C-7|B°7|

|DbΔ|Db-7|AbΔ|B°7|

Those four bars are played after a vi ii V I in Ab, so I figure the DbΔ is the IV of Ab, and I play in Db Lydian over that, but the three chords after that; I just don't know. The four bars played after the three bars I can't improvise over are a ii V I in E, btw.

TL;DR:
What should I play over the last three chords in the mentioned progressions above?

P.S.:
Any general tips on jazz improv would be greatly appreciated too.
#2
You should just play arpeggios over the chords. It would probably sound better. Out of those three options though I don't know whether they represent reharmonisations of the original piece or if someone has just misrepresented them to you. And I don't have my real book handy so can't really comment.

But generally with jazz improvisation you should start playing the changes. I'm guessing you just play Ab major over a ii V I in Ab? You should try to think of it as Bb Dorian, Eb mixolydian and Ab Ionian respectively. Key changes happen so frequently in jazz pieces that trying to think in a key is often a lot harder than thinking in terms of the parent scale for each chord. And if you did that you'd manage playing over a confusing section in a piece a lot better.
#3
The middle of the 3 is the way i play it.

During that part of the song, i think chord tones are your best bet.

This is a bit of text i made up with the key over the top of the chords

All The Things You Are


|: Db7#9  |  %   | C7#9   |    %  :|


-----------------Ab-----------------
|: F-7    | Bb-7 | Eb7    | Abmaj7 |

----Ab----¦-------------C-----------
|  Dbmaj7 | G7   | Cmaj7  |    %   |

¦---------------Eb------------------
|  C-7    | F-7  | Bb7    | Ebmaj7 |

----Eb----¦-----G---------¦---G+----
|  Abmaj7 | D7   | Gmaj7  |   E7   |

-----------------G------------------
|  A-7    | D7   | Gmaj7  |    %   |

----G-----¦----------E-------------¦
|  F#m7b5 | B7   | Emaj7  |    %   |

-----------------Ab-----------------
|  F-7    | Bb-7 | Eb7    | Abmaj7 |

-----Ab---¦
|  Dbmaj7 | Db-7 | C-7    | Bdim7  |

----------------Ab------------------
|  Bb-7   | Eb7  | Abmaj7 | Abmaj7:|
#4
a way to improve your improv skills is by expanding your lick vocabulary. You can do this by learning ii-v-i lines which you can learn and then paste them into your solos. I hope that makes sense but here's what im talking about-for example if you go to a jazz site like this: http://jazzguitar.yolasite.com/jazz-licks.php, you can click on the artists links and start memorizing the lines...hope that helps
#5
Quote by bloftus
a way to improve your improv skills is by expanding your lick vocabulary. You can do this by learning ii-v-i lines which you can learn and then paste them into your solos. I hope that makes sense but here's what im talking about-for example if you go to a jazz site like this: http://jazzguitar.yolasite.com/jazz-licks.php, you can click on the artists links and start memorizing the lines...hope that helps


That is not really improv skills then. It is regurgitating already written jazz licks.

To the original poster, for the Db-7 and the C-7 I would use dorian. Then for the Bdim7 I would probably just use half/whole diminished. But in the end those probably go by so fast you can just use chord tones.
Last edited by hollow1928years at Nov 15, 2009,
#6
Then for the Bdim7 I would probably just use half/whole diminished


Generally over a diminished chord you'd want to use a whole-half diminished scale. Half-whole is more usual for V7b9 chords.
#7
TS, I worked on this song a lot over the summer for bass and have lots of notes sprawled on it in my real book. If you want to wait a little, I can give you some real answers (instead of regurgitating typical (transcribe, and "feel" it) MT posts

EDIT: K, so Im looking at my lead sheat now. Your talking about the C section right?

Well, to start, the C-7|Bdim7 is actually a tritone sub into the the next bar (Bb-7), so what ever you do in those to bars needs to resolve to the Bb-7.

As for the Dbmaj7 and the Gb13, thats a tiny bit trickier. In the head, the Gb is actually D-7 G7. But the composer made it Gb13 so that it could reasolve easier to the C-7. So whatever you play over the Gb13 should head towards that C-7. And then the Db can essentially be treated the same as in the head.

Also, its important to note that the melody of this song is almost all thirds and sevenths. The melody is almost never touches the root of the chord. I would keep that in mind while soloing
Last edited by tubatom868686 at Nov 15, 2009,