#1
Can someone help me with ideas scales, mdoes etc. over the bridge, we play it in C

Bridge:

A-7 D-7 | A-7 F9 | A-7 D-7 | A-7 D9

A-7 D-7 | F#half dim. , B7(#5flat9) | E half-dim , A7(#5flat9) | D-7 G7

Thanks
#2
You sure that bridge is in C? Looks like it would be in A to me.

Edit: Perhaps that D7 - G7 is modulating back to C for the verses?
And no, Guitar Hero will not help. Even on expert. Really.
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#3
Quote by AlanHB
You sure that bridge is in C? Looks like it would be in A to me.

Edit: Perhaps that D7 - G7 is modulating back to C for the verses?



A7 = dominant
A-7 = minor seventh


It's confusing to use " - " for notating minor in here, cause the forum uses those signs for chord transition mostly.

Though they are perfectly acceptable, those are best to stick with in traditional lead sheet notation.


As to TS


(I hope you know ur theory a bit)

You can use C Major/A minor scale for A-7 and D-7.

For the F9 what they've done is let the "blue note" in A minor (b5/Db) act as the seventh of the F9 chord chord.

I would bend into this blue note from the previous chord and hold it with vibrato and a cool look to let everyone know you mean business.

Use A Dorian scale over the D9 chord, or at least not play a minor third, unless you're hendrix .

Now the tricky bit;

For the diminished chords. In such a short run, I would just follow the chords, and play around with the notes within the chord and make use of the extensions.

What I myself would do in this case..

Play around with the following note "sets" over the chords. (they are to be played in the upper voice range of the chord)

F# half diminished
: Ab, A, B, C (notes are pulled form A Melodic minor)

B7#5 : D, Eb, F#, G, A (pulled from A Dorian and A Blues)

from E Half diminished to A7#5 I would play a chromatic rundown.

I don't think in scales really anymore. I just go with each chord, and pick the notes that I like over them, but this comes from experience, so if you want to be safe just stick with the notes in the chord(s).

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Last edited by xxdarrenxx at Jun 16, 2011,
#4
Quote by xxdarrenxx
A7 = dominant
A-7 = minor seventh


Oh right

Then I'm on your side mostly, I'm just being a little apprehensive as to what the context of the bridge is....for some reason a lot of people think that the other chords around the solo/bridge portion don't have any relevance when picking scales/keys.
And no, Guitar Hero will not help. Even on expert. Really.
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#5
Quote by AlanHB
Oh right

Then I'm on your side mostly, I'm just being a little apprehensive as to what the context of the bridge is....for some reason a lot of people think that the other chords around the solo/bridge portion don't have any relevance when picking scales/keys.


Agreed;

Even if they were dominants and not m7's as you initially thought, it would still most likely be in C cause they would be dominant subs off their minor counterparts.

The ending of Dm7 into G7 is enough to validate it as a cadence into C

But yes, my information is based solely on this section, and it should work to solo with.

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Last edited by xxdarrenxx at Jun 16, 2011,
#6
those D-7's should be E7b9's. that's how I play it anyway. allows for better chromatic walk down motion with the G#.

but mainly just Am. and you can treat the f#ø-b7b9 as just the V and play B half-whole diminished. likewise for eø-a7b9 go with A half-whole diminished.

since it's sharp 5 though you could play B and A diminished whole tone scales (7th mode of melodic minor).

edit: and yes it goes back to C. any time a section in jazz ends with a ii-V no one will fault you for starting the next section on the I of said ii-V.
#DTWD
Last edited by primusfan at Jun 16, 2011,