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Autumn Leaves

 
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Rich9999



Joined: 24 Feb 2006
Posts: 55
Location: Red Deer Alberta Canada

PostPosted: Tue Nov 17, 2009 4:57 am    Post subject: Autumn Leaves Reply with quote

How do I approach soloing over Autumn Leaves....

I do know that I can use Gmajor scale over Am7 D7 Gmaj7..

but what can I use for....Cmaj7 F#m7b5 B7 Em

and the rest of the piece.......I am new to this

Rick
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JakeJew



Joined: 30 Jul 2005
Posts: 2190
Location: Boston, MA

PostPosted: Tue Nov 17, 2009 5:15 am    Post subject: Re: Autumn Leaves Reply with quote

Rich9999 wrote:
How do I approach soloing over Autumn Leaves....

I do know that I can use Gmajor scale over Am7 D7 Gmaj7..

but what can I use for....Cmaj7 F#m7b5 B7 Em

and the rest of the piece.......I am new to this

Rick


Hi Rich
I'm going to redirect you a bit and suggest two things

1. First try soloing over the whole tune only using chord tones (1357) for each chord and nothing else. You could do this slowly at first, or even with no rhythm at all.

2. Learn the melody very well and play it in all keys. Also, as an exercise, improvise just from the melody...find out how many different ways you can phrase it just by varying the rhythms.

I think this approach will, for now, get you further with the tune than playing from scales....hope that helps and good luck!
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Viper



Joined: 04 Oct 2005
Posts: 568
Location: Bristol, UK

PostPosted: Wed Nov 18, 2009 10:49 am    Post subject: Reply with quote

Seach the forum you will find a lot has been written about AL.
There two cadences in AL. The major and its relative minor in the key of G its G major and E minor .
Major = Am7 D7 GM7 CM7
Minor = F#m7b5 B7 Em Em
These stand in relationship known II,V,I. (The C is the IV and is there for colour or whatever you like)

So the CM7 belong to the first not the second cadence.

Because these two cadences are relative they have the same scale notes anything which 'fits' over one can be played over the other more or less. In this case it the white notes on the piano but that is just a starting point which will not sound terribly jazzlike.

You will find details of this in this in this and every other jazz forum and book. it s good place to start but with uniform sequence it is difficult to keep your place which is why jazz musicians usually use the sub in bars 27 & 28.
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planetguy



Joined: 11 Dec 2008
Posts: 284

PostPosted: Wed Nov 18, 2009 1:33 pm    Post subject: Reply with quote

Quote:
In this case it the white notes on the piano but that is just a starting point which will not sound terribly jazzlike.


well, not exactly the "white notes" as that F natural ain't gonna get it unless you're using it for a passing tone. Wink

with the exception of the B7 chord....you can use GMaj over all the chords and sound ok/correct but that B7th chord really wants the D raised to a D#.

to follow up on jake's two good suggestions i'd add two more...

1. you might start by simply playing the pattern 1 3 5 7 (chord tones) for each chord to get the harmony in your head (and help you see and hear the chords)

2. next play through the progression slowly playing just the guide tones (3rd and 7th) of each chord.
this a great way to hear and appreciate the voice leading that's inherent in this tune.

btw....these guide tones are excellent target notes to land on when you're changing from one chord to next.
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Fred_Murtz



Joined: 18 Jun 2006
Posts: 174
Location: Nashville

PostPosted: Fri Nov 20, 2009 4:05 am    Post subject: Reply with quote

Quote:
but what can I use for....Cmaj7 F#m7b5 B7 Em


Try out the E harmonic minor over those chords....

E harmonic minor = E F# G A B C D# E

Cmaj7 = C E G B

F#m7b5 = F# A C E

B7 = B D# F# A

Em = E G B

All those notes which make up those chords are nested within the E Harmonic Minor Scale.

Have fun.
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Viper



Joined: 04 Oct 2005
Posts: 568
Location: Bristol, UK

PostPosted: Fri Nov 20, 2009 8:37 am    Post subject: Reply with quote

Quote:
F natural ain't gonna get it unless you're using it for a passing tone
whoops, quite right, in fact Fred's suggestion is much better.
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lex_robben



Joined: 10 May 2010
Posts: 9

PostPosted: Tue May 11, 2010 4:02 pm    Post subject: Reply with quote

Quote:
but what can I use for....Cmaj7 F#m7b5 B7 Em


Fred's suggestion is good. I personally wouldn't start playing E harmonic minor until the F#m7b5. You probably sound better just sticking to E minor (C lydian mode) over the Cmaj7.

Other possible scales to use:

The altered scale works a treat over the B7.
Over the Em, you could play E minor blues for a more bluesy sound which resolves the tension created by the B7 quite nicely, in my opinion.
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Krah13



Joined: 14 Dec 2012
Posts: 7

PostPosted: Tue Dec 25, 2012 7:55 am    Post subject: Re: Autumn Leaves Reply with quote

Rich9999 wrote:
How do I approach soloing over Autumn Leaves....

I do know that I can use Gmajor scale over Am7 D7 Gmaj7..

but what can I use for....Cmaj7 F#m7b5 B7 Em

and the rest of the piece.......I am new to this

Rick


I agree with the others.
Arpeggios are a good starting point. Try to come up with some lines by using only arpeggio notes. Start with quarter notes and after some practice try the same thing with eighth notes. Add some chromatic notes for smoother transition.
You have to hear the changes through your lines (without a backing track).
I hope that this helps.
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