#1
How do I actually jam on that progression

..G7 .....C9 ....G7 .........G13 .Db9 ..C9 ..G7..........

....D7 ..D13 ..C7 ...C13 ..G7 .......D9....


I loose control with these sevens and nineth...
could pleaze anybody tell ,if there is a key which fits or which keychange appears...
Although I read jazz theory books I am always a bit confused.
My suggestion was till the Db9 its Gmajor + blues note^^
Db is maybe some chromatic thing and then theres a I V7 II cadence

and before a II7 -II13- I7 -I13- pattern
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IF YOU READ 'H' I MEAN 'B'

GERMAN H = AMERICAN B

#2
seems to me like C major, more than anything. i'd solo within C major, using a Bb over the C7/9/13, and using an F# over the D7/9/13. over the Db i'd solo in Db mixolydian (in the CST context, of course).

if you're losing control with the extensions, try playing some exercise solos in which you emphasize the extended tones (7/9/11/13).
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#3
TS, what is your listening experience with jazz, and what is your experience in learning and playing jazz solos?
#4
I may be wrong (I'm not quite sure how you're dictating the duration of the chords), but that chord progression looks like a simple jazz blues with some extensions and substitutions.

I don't want to go all jazz theory on you, but the Db7 chord you're referring to is a tritone substitution of the G7. In jazz, every dominant chord can be replaced by its dominant tritone (C7 -> Gb7, G7 -> Db7) because both chords contain the same essential notes to making the original chord dominant: the third and flat seventh degree. As an example, G7's essential notes are B and F. A Db7 chord contains a B and F. Voila, they can be substituted for one another. This may be used for movement, voice leading, or anything else.

As for what scale to use? Every chord is dominant (9 and 13 chords are simply dominant chords with basic extensions), but that doesn't mean that you need to play the mixolydian scale over them. And if you're used to using the altered, diminished, or whole tone scales over dominant chords for tension, this is not the place to use them.

You can just use the basic G blues scale we all know and love and you'll sound great. If you're looking for a jazzier sound, however, there's a cool scale you can use that is a hybrid of the blues and major pentatonic.
#5
thanks that cleared it up a bit....

Well I am starting to get into the theory. Guess I am not clever enough for it....XD

Get always confused with these dominants.

Although I read it in many sources I can get that in my head, its a whole different thinking.
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IF YOU READ 'H' I MEAN 'B'

GERMAN H = AMERICAN B

#6
I would agree with LlamaMan.

Aeolian is correct, as usual. But, especially if you're new to this, I wouldn't delve too far. I would stick with the G blues, mess with some accidentals (I use that term extremely loosely). Stick with that scale and follow your ear for anything extended beyond it and you'll do fine.
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"Oh I'll play the blues for you"
#7
TheLlamaMan went with what I saw as well. It's actually a modified blues in G.

If you're not that steeped in playing jazz yet, I don't know what to suggest other than to get into the chord tone approach. With changes like this, it doesn't particularly make sense to play a single scale over the whole thing (imagine trying to force G minor pentatonic over Db9!). If you know what the notes of each chord are, you can target them in a variety of ways over each one and connect them with other diatonic notes from the key (G).
Last edited by Brainpolice2 at Aug 23, 2011,
#8
Yeah that is what I do in the emergency playing at least the chord tones...
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IF YOU READ 'H' I MEAN 'B'

GERMAN H = AMERICAN B