![]() ![]() Strictly speaking, G7 does not exist within C minor the V chord should be Minor, but it gets changed to dominant 7th in jazz to give a stronger resolution back to the I chord. You can see a strong outlining moment over the G7 chord in bar 6. This can clearly be seen within the first two bars using just a C m7 arpeggio in different positions. This is the most technically demanding of all the three solos, as the fingering for these arpeggios is not always natural.Īlso remember this is not an exercise, so we are not just running up and down shapes, we are using them in a musical way and this makes for big leaps across the fret board. Using just arpeggios does make for great practice. The best approach in a normal situation would be to use a little of both. However, it can also end up sounding quite predictable as there is only so much you can do with it because there are no “danger notes”. Being able to improvise using just arpeggios, is a great skill to have, this will make your solos sound much more sophisticated as you outline the chords underneath. It was not until the be-bop era that players also started to use the ‘modal approach’ (grouping a bunch of chords together in one key). In the very early days of jazz, this was the common approach to soloing, changing with every chord and this is very tricky to do especially at a high tempo on a tune with a lot of changes. This can be clearly seen with a tricky line over the D flat Major II V I starting on bar 9. When playing jazz (or indeed any style) try thinking in leaps, 5th’s, 6th’s and 7th’s rather than steps, 2nd’s and 3rd’s as this will give greater harmonic depth to your solo. You may notice that on the harmonic side of things, the intervals between notes are much larger than you may play in a rock or blues solo. This is the rhythmic aspect that will help to give you that authentic jazz sound. Notice how the solo uses an almost constant stream of 8th notes occasionally broken up with a rest or a couple of 16th notes. By using good phrasing and note choice, you can construct a fairly convincing jazz solo by just using those two scales. The first 8 bars are in C minor, then the next 4 bars move to D flat major, before returning back to C minor for the remaining 4 bars. Solo #1 Using Key centre scales:īlue bossa can be viewed as having two key centres. Let’s go through each of the solos and point out any interesting or tricky parts. The backing track is for you to try playing the solo over and to practice improvising over this classic standard. On the audio files below you will hear each solo played and also an extended backing track. They have learnt from this method and used them in their own playing. Many famous jazz players, when interviewed have underlined the importance of transcribing a favourite player’s lines. Try making some of the licks and lines your own by phrasing them differently as well as trying them in different keys and tunes. I have written three solos each one chorus long using different approaches:Īim to learn the solos but more importantly learn from them and not just copy them ‘parrot’ fashion. One should be familiar with terms such as Major and minor II V I progressions, as this is what this tune is predominantly made up of. This lesson is aimed at those players that are starting to get into playing jazz. If you are playing a Strat like guitar, try putting it on the neck pick up with the tone control rolled back to about 3. ![]() In strict jazz playing there is very little, you wont hear Joe Pass adding tone wide vibrato to the end of one of his lines! The tone is also very different. ![]() There are lots of articulations in rock and blues such as bends, slides and vibrato. Leaping straight into jazz improvisation is a very hard thing to do especially if you are making a transition from rock or blues. Blue Bossa is also a tune that is used as a study piece in many music colleges, as it is a good introduction to playing and improvising over jazz tunes due to it being harmonically quite simple. Many great players have covered this tune including Pat Martino, Joe Pass, George Benson, Kenny Burrell and a great duo version by Bobby McFerrin and Chick Corea. The original version can be found on “The Best of Kenny Dorham – Blue note years” (Blue Note). “Blue Bossa” is a 16 bar bossa nova jazz standard, written by trumpeter Kenny Dorham. ![]()
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