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"Window" Soloing

 
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xmorphicx



Joined: 04 Jun 2005
Posts: 2

PostPosted: Sat Jun 04, 2005 7:35 pm    Post subject: "Window" Soloing Reply with quote

Hey all.
A concept that has me completely baffled is how to do this window soloing... i.e. Soloing over chord changes while staying in a position.

I know all the modes of the major scale, and the modes of the melodic minor scale... but somethings missing.

For example. Lets say I'm trying to solo over a progression like

Bb7-A7-Abmaj7-Db#11-Cmaj7

Now, my theory tells me to use Mixolydian over the 7th chords, Lydian or Ionian over the maj7, and the Lydian Augmented scale for the #11...

Ok... now heres where things get really confusing for me.

How exactly would I stay in the...lets say.... 5th position and solo over this? I guess I'm having trouble with the "mental organization" of it all.

The way I would normally approach it is use the Mixolydian scale starting on the 6th fret, then slide down to the 5th, then slides down the the fourth and use lydian... but then from here, the only thing i would know how to do is go up to the 9th fret and play the 3rd mode of the melodic minor scale.

This way, I'm thinking "patterns" not notes. Is this my problem?

I'm going to stop before I word things in an even more confusing way... does anyone get what I'm asking here?
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Jazzy



Joined: 14 Dec 2004
Posts: 1660
Location: Norway

PostPosted: Sat Jun 04, 2005 9:20 pm    Post subject: Reply with quote

Hi.

I understand what you mean, I`ve worked a great deal with playing in one position.
First of all I think you should learn all the arpeggios in these chord changes, ex: Bb7 : Bb7 - Dm7b5 - Fm7 - Abmaj7
Build arpeggios on the chord tones. And then try combining these with chromatics.
If I should practice these chord changes in one position I would think:
Bb7 - Bb mixo ( 6th fret)
A7 - A7 mixo or lydian dominant ( 5th fret )
Abmaj7 - Ab ionian ( from 6th fret, Bb dorian )
Dbmaj7#11 - Db lydian ( Bb- dorian 6th fret )
Cmaj7 - C ioninan (A eolian 5th fret )
I hope this helped a bit Smile

In addition to this I would recommend improvising on one and/or two strings only. This way you avoid playing licks, and you are forced to think very melodically. ( check out The advancing guitarist by Mick Goodrick. Great book! )

Take care

Michael
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dkaplowitz



Joined: 28 Apr 2005
Posts: 193

PostPosted: Mon Jun 06, 2005 5:55 am    Post subject: Reply with quote

I'm trying to get away from scale patterns, but they're sometimes useful for learning all the notes in a small area. Are you familiar with the C-A-G-E-D patterns? They're a good way to learn how to play all the scales in a 5-6 fret position anywhere on the fingerboard.

If you're not familiar with them, post back and I'll show you examples or you could google around and read up on it. Here's a site that lays it out fairly well. Let me know if you have any questions.

Cheers,

Dave
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Bjorn



Joined: 04 Jan 2005
Posts: 1037
Location: Denmark

PostPosted: Sat Jun 11, 2005 7:55 pm    Post subject: Re: "Window" Soloing Reply with quote

Hi there...
Lets analyze the progression first.
Bb7 substitutes the E7 alt chord, and resolves by a half step (Down), Scale: E altered = Bb mixolydian #4.
The same for A7, which resolves to the AbM7 (Lydian).
Then the Db#11 which I suppose is Db7#11 that substitutes the G7 altered Is also the Mixolydian #4 Scale which resolvel to the C lydian....

So it is BbMixo#4 - A7Mixo#4 - Ab Lydian - Db Mixo#4 - C Lydian...

Thats the way I would approach this progression...

Cheers Bjorn.....

Bb7-A7-Abmaj7-Db#11-Cmaj7

Now, my theory tells me to use Mixolydian over the 7th chords, Lydian or Ionian over the maj7, and the Lydian Augmented scale for the #11...
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Kirk



Joined: 26 Aug 2004
Posts: 14
Location: Australia | Canada

PostPosted: Sat Jun 18, 2005 6:11 am    Post subject: Reply with quote

My approach would be the same as any other chord progression: hinge my melody off the chord tones, and in this case, use only chord tones in one region of the neck ... since every chord lurks in every part of the fretboard, it's a fairly straight forward task.

But why restrict yourself to a zone?

Kirk
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xmorphicx



Joined: 04 Jun 2005
Posts: 2

PostPosted: Sat Jun 18, 2005 6:05 pm    Post subject: Reply with quote

thanks for the replies everyone.

good question kirk, i'm trying to practice the technique in Mark Levines Jazz Theory book, where he recommends trying to go up one scale and in the middle switch to another scale without stopping.

Lets say I'm soloing over a chord progression that goes Dm7 - to Em7 (picking a simple one because its easier to explain for me, as I'm a jazz newbie). Now I know I could use the C Maj scale over both of these. And I know visually I could just play D Dorian, and slide the same pattern up two frets when the chord changed. While that would be easy enough to do for this chord progression, I feel like i'm cheating myself of practice for harder progressions by doing it this way.

This is what Mark was saying to do... The progression starts, Dm7. You start an accending scale, D, E, F, G, A.... chord changes, without skipping a beat you continue up B, C#, D, E, F#... chords back to Dm7, so you continuing on you play G, A, B, C, D, E...... then again, the Em7 so... F#, G, A.

That concept really just blows my mind. I know all the notes on the fretboard very well. I guess what I'm missing is the way of knowing exactly what notes are in each scale. I know the 7 patterns for the Major scales, the 7 patterns for the Melodic Minor scales... but if you asked me to NAME the notes of a Bb Mixolydian scale... It would take me a few minutes to picture the PATTERN on the fretboard and figure out the notes.

So how to jazz musicians know this stuff? Realistically, they can't just memorize every single one of the notes of every maj and melodic minor scale... because that would be 154 different groups of notes. (11 different notes times 14 scales, 7 for maj, 7 for melodic min.) Are they picturing a "note" line, kind of like a number line in their head for reference? How do they do it?

Thanks in advance, hopefully I didn't make this really confusing.

edit: typo
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peaceful



Joined: 18 Jun 2005
Posts: 4
Location: thailand

PostPosted: Sat Jun 18, 2005 10:18 pm    Post subject: Reply with quote

For me I'll use arpeggioes and chromatic line sometime use pentatonic to make a different feeling.It's my opinion.Try it! If You like.Good Luck...
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