#1
Been shedding this tune and playing a lot of blues, natural minor, and harmonic minor, and that works up until the turnaround. The changes in those two bars just sound really ambiguous to my ear, and I'm having trouble hearing ideas to play over them. Arpeggiating doesn't sound particularly hip to me, as does ignoring the changes and trying to play C minor over the whole thing (the chords are too far removed from the key center for that to work, I think).

Anybody else know this tune that can give their opinion?
I couldn't think of a thing that I hope tomorrow brings
#3
Quote by jazz_rock_feel
Chord tones. Passing tones. Fin.

Well yeah, I mean I've tried using chord tones but it comes out just sounding like generic change running (that is to say, not really a melodic line). I guess passing tones could be a good way to get some more cool sounds.

I dunno, it's hard though, creating a real melodic contour over seemingly unrelated altered dominant chords. Anybody else have any input (Primusfan, Tehrealcaptain, maybe Xioxi?)
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#4
What's the chord changes and the part you're having trouble with?

...modes and scales are still useless.


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#5
Its a minor blues in 6/4 up until the turnaround which, instead of a v-iv, goes F#-7b5, F7#11, E7#9, A7#5. I'm having trouble hearing a melodic line over the changes because they are so "out", in relation to the key of C minor.
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#6
do a tritone sub on the A7 to make it Eb7. exploit the chromatic motion. a good and easy way would be to simply take the same lick and move it down or up chromatically. that's kind of the hook of the song.

when I get a chance tomorrow (on my phone atm) I'll post a couple different licks that might sound good. but basically just think chromatic, down or up. play the chords and try to sing different ideas over it. pay particular attention to rhythmic motifs.

think of them all as altered dominants. and you can get away with pretty much anything over dominants.
#DTWD
Last edited by primusfan at Jan 27, 2012,
#7
I have a lesson on this tune you should definitely check out: http://mikedodge.freeforums.org/footprints-some-forward-motion-concepts-t2.html

The line you want to create should have forward motion to it...

First, these are turnaround chords I lifted from Martino's version...they are blocked with the Realbook version, as well as the b5 sub version:



    D9         D9            Db9          Db9
    D9         Ab7           Db9          G7
    F7b9      Em/M7b5        Ebaug        G7#5
E---------|-------------|-------------|--------
B---7-----|----8--------|-----4-------|----4--
G---8-----|----8--------|-----4-------|----4--
D---7-----|----8--------|-----5-------|----3--
A---8-----|----7--------|-----6-------|-------
E---------|-------------|-------------|----3--



For a line, make things connect and reflect...notice how the first line connects the movement, and the second line reflects it.



In 6/4, each note gets a quarter beat...

    D9       Ab7           Db9         G7        Cm
E----------------------|-----------------------|-----
B------------------4---|--------------------3--|--4--
G---------------5------|-----------------4-----|--5--
D----4--7----6---------|-----3--6----5---------|-----
A--5-------------------|--4--------------------|-----
E----------------------|-----------------------|-----


Check that tute out though as it's show you how to look at that whole progression as:

6/4 time ||: Cm7 | Cm7 | Cm7 | Cm7 C7 or C7aug or Gdim7 or G#aug | Fm7 | Fm7 G7 or G#dim7 or Gaug or Db7 | Cm7 | Cm7 | F7b9 Em/M7b5 | Ebaug G7#5 | Cm7 | Galt C#7 :||

It makes for some serious forward motion through the whole tune.
#8
Personally I think you can get away with playing as little as possible over this change because it is so chromatic and thick (it's basically a diminished chord moving down chromatically). If you listen to to the Wayne Shorter recording, he's always holding out notes at that point during the improv. So just take a cue from the melody itself and embellish it.

...modes and scales are still useless.


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