"For
soloing over Mark Time the main scale options I suggested were
lydian (Gb maj7 #11) and dorian (Fm11). We also discussed the
possibility last session of using the minor pentatonic from the
second chord (i.e. Fm11) over both these chords. A new minor
pentatonic is needed every 8 bars."
Saturday, 27 September 2014
Mark Time (previous notes)
"A useful option for playing over this tune is to
use a minor pentatonic over the first two chords in bars 1-8 (the
minor pentatonic would be built on the root of the second chord). The
same can be done with the two chords in bars 9-16, then 17-24, and
25-32. Each new pentatonic will be a minor third up from the previous
one. (Notice this was the interval between the two key-centres in
Priestess)."
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from Mark
ReplyDelete"We focussed on the first of our two tunes for this block You Ain’t Gonna (next week we’ll get going properly on Mark Time). Soloing on any tune is such a personal matter it is sometimes hard to know how to give feedback. You Ain’t Gonna seems a particularly open type of tune - you could solo on it in many different ways. Soloing language can be drawn from anywhere: blues, bebop, funk, free jazz (that might be where ‘scribble’ comes in), and I believe we managed some reggae too … For me, the important question is: “do you sound how you want to?”
Over the next few sessions I hope we can explore a range of possibilities for soloing on You Ain’t Gonna. I would also like to try some ideas out with the rhythm section on approaches to comping. I am attaching a short mp3 excerpt of the Django Bates solo, slowed down (first couple of 'seven bar cycles' from where the backings drop out leaving soloist and rhythm section). This excerpt contains one of the ‘choice phrases’ we looked at in the session (second cycle, bars 2-4). I have also attempted to transcribe some of the piano voicings which I notice are very diatonic at this point and follow the rhythm of the bass fairly closely - quite a few spaces too. There of course many other possibilities."