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Does someone have any tips for this one?

Tobias LandaTobias Landa HollandNew
edited September 2007 in Licks and Patterns Posts: 35
Hi, Does somebody has some tips for a gypsy jazz solo for the following scale:
|G |Am |Bm |E9 |
It is played with a bit of a latin rythm.

thanks :)
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Comments

  • Tobias LandaTobias Landa HollandNew
    Posts: 35
    the whole progression:

    |G |Am |Bm |E9 |
    |Am|Bm | Cm| F9|
    |Cm|Bb |Db9|Dsus4|D7|

    I think I already have something for the beginning, but I still thinkin' about what to do next... I'm quite new at this..

    Grz
  • That chord progression is a little unusual when it reaches the Cm. The first 4 chords you mention are fine since they are I-ii-ii-vi7 in the key of G but then it goes to the Cm and that doesn't make much sense to me. The relative major of Cm is Eb7, which has no logical relationship of tension to the A part...

    Im not good at this stuff either but that is my first impression.

    Instead of modulating to Cm, I would go to either Cmajor, D major, or Am or Bm modulation if I were personally writing this song.

    Also, I think the tri-tone of the Vth of Gmaj would also be a good key for the B part, such as Ab, which is a little like using Fm rather than Cm...

    Just rambling... don't mind me...
    ---
    Jon Austen, Portland, OR
    playing since 1997
  • JackJack western Massachusetts✭✭✭✭
    Posts: 1,911
    That looks like a Santana progression to me...basically a I-iv-V idea. Maybe you can cop some of his licks?

    best,
    Jack.
  • A major to the minor 4th wouldn't exist in standard harmony. It doesnt exist in any of the standard minor scales or standard major scales.

    Cm does however, exist in the G Major Spanish Gypsy Scale , and so maybe Jack is right and its a Santana thing...
    ---
    Jon Austen, Portland, OR
    playing since 1997
  • Tobias LandaTobias Landa HollandNew
    Posts: 35
    ah thanks! :)
    i'll have a look at some santana licks...
    and it isn't my own..
    I'm playing a solo on someone else's cd...
    I do have the music file on my pc... can i upload it?

    gr tobias
  • dennisdennis Montreal, QuebecModerator
    Posts: 2,104
    djangology wrote:
    A major to the minor 4th wouldn't exist in standard harmony. It doesnt exist in any of the standard minor scales or standard major scales.

    what do u mean by that? u mean a major chord going to a IVth degree minor chord? not only is it a standard harmonic it's in a bunch of old standards (all of me for example)
    Cm does however, exist in the G Major Spanish Gypsy Scale , and so maybe Jack is right and its a Santana thing...

    i think you're making things WAY more complicated than it is... Cm in the key of G major is just a IV minor chord, it's called modal interchange where u borrow chords from parallel keys (ie taking the IV chord of Gm and putting it in the key of G).. it's a very standard harmonic tool that's been in use for a few centuries now
  • what do u mean by that? u mean a major chord going to a IVth degree minor chord? not only is it a standard harmonic it's in a bunch of old standards (all of me for example)

    What I meant is that if you take the Major, Minor, Melodic Minor, and Harmonic Minor chord scales, that that chord never exists as a 4th.

    Dennis, you do have a point. I completely forgot about melodic major. You can build a chord scale out of "melodic major" (To me it evokes Eastern European folk melodies) and it looks like so:
    I ii0 iii0 iv v VI+ VII

    This fits Tobias song sorta. The fifth in his progression is F9, which the relative minor is Dm. The iv-v in G melodic major is Cm-Dm. Tobias uses Cm-F9. Close.

    I don't think I am making it complicated. There is nothing complicated about a chord scale. Most of us understand the basic minor and major chord scales I think.

    I answered Tobias' thread because he seriously sounded like he wanted an answer and nobody else was really giving it. I didn't answer it because I think I know anything about theory, because I don't really... I just play from the heart.
    ---
    Jon Austen, Portland, OR
    playing since 1997
  • dennisdennis Montreal, QuebecModerator
    Posts: 2,104
    hi jon, when i said yuo're complicating things, i didn't mean that as an insult so please rest assured that there is none intended. but nonetheless, it is a fact that you're making it more complicated than it really is. Even in your last reply , you've made it even more complicated (i'm sorry to say that)

    but at any rate, what to "play over this" type of questions are always difficult to answer and would take to much time to properly answer, the real and probbly not helpful answer is "anything" because anything and everything will work over any chord progression depending on how you interpret the changes...

    for starters, tobias' progression is mainly in G with brief passages in Am and Bb... with a weird little Db9 chord in there... for such a progression, thinking too much in terms of chordscales makes the music sound like chordscales...

    to me, chordscales is a concept and a theoretical tool to analyze things... using them as musical tools often makes thing sound mecanical... that's opinion anyway...
  • Tobias LandaTobias Landa HollandNew
    Posts: 35
    oh but I'm using the melody of the song as a leading thread and i was just wondering if someone knew some typical django licks to use in this sort of scale... caus i don't know many..

    and i'm not quite good at theory :roll:
  • like we mentioned earlier, I think Santana licks would work better over this song than Django licks. Django licks are cool but they dont have the same sound as Santana. maybe there is a Santana forum somewhere...

    Dennis, no offense taken. Most of the time, when I am soloing, I think very simple, just like you described, and it is nothing near as complicated as me trying to explain (above) how I think that chord progression fits into spanish harmony.

    i just LOVE talking about and breaking down chord progressions and trying to figure them out, and everytime I do I will take a different approach and get different ideas. doesn't everyone do that? I didn't mean for it to sound like "that is the only way it works!".

    if anyone ever wants to talk tech about chord progressions, I love it. :-)
    ---
    Jon Austen, Portland, OR
    playing since 1997
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