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thaydon
Joined: 31 Mar 2007
Posts: 80
Location: Cincinnati, Ohio
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 Posted: Wed Apr 23, 2008 1:41 am Post subject: Tune Up |
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Does anyone have any ideas or concepts for what can be played over the major chord (one chord) in the 2-5-1 progression in tune up that can be woven into the next 2-5-1. For example what to play over the D major chord that can be woven into the d minor of the 2-5-1 in C major. I am trying to connect lines to keep the phrasing going to connect 2-5-1's in this song.
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sincerely yours,
Todd |
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Mark
VM Coach
Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR
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| Posted: Wed Apr 23, 2008 8:40 am Post subject: Re: Tune Up |
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| thaydon wrote: | | Does anyone have any ideas or concepts for what can be played over the major chord (one chord) in the 2-5-1 progression in tune up that can be woven into the next 2-5-1. For example what to play over the D major chord that can be woven into the d minor of the 2-5-1 in C major. I am trying to connect lines to keep the phrasing going to connect 2-5-1's in this song. |
Todd,
"Tune Up" is one of my favorite Miles Davis tunes to play, because it's a great vehicle for applying core jazz language, and you really have to stay on your toes because of the modulations from D to C to Bb. In a sense it's almost like an exercise, but unlike some random series of chords in a theory book, it's a real tune.
To answer your question, the main distinction between D major and D minor is simply the 3rd, so the F# moving to F. This is carved-in-stone whether you choose to play two-five licks or key-oriented sounds. It all comes down to having a solid vocabulary, then making intelligent connections. Not unlike speaking or writing, eh? 
After I read your post, I listened to an unreleased version of "Tune Up" that I recorded last year, then picked out a brief clip to share with you and other forum members. It's actually my opening solo statement. To hear it, click here. If you listen carefully, you'll recognize that I'm using D major blues over the Em7 to A7 to Dmaj7, then a little bebop two-five over the Dm7 to G7, then back to C major blues as it resolves to Cmaj7. The cool thing about mixing jazz language with key-oriented major blues (as opposed to the major scale) is that you still get the soulfulness of the blues involved, in the spirit of Oscar Peterson, George Benson, and other jazz improvisers with a genuine affinity for both genres.
For anyone unfamiliar with this popular jazz bebop standard, click here to hear the full track, including my rubato chord-melody intro and the head played in Wes-style octaves. Enjoy and I hope the advice proves helpful. All for now...
- Mark
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"Anyone can make the simple complicated. Creativity is making the complicated simple" - Mingus |
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thaydon
Joined: 31 Mar 2007
Posts: 80
Location: Cincinnati, Ohio
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| Posted: Wed Apr 23, 2008 6:14 pm Post subject: Tune up |
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Mark,
thanks for your reply. I also like tune up and was glad to see it in the recent LBM. I have been listening to 3 versions, miles', yours, and Wes'. Particular what you and Wes do on the major chords. I have begun to transcribe what Wes does during the head, on the one chords as a response after the "orchestra" plays the head. I am figuring what Wes is playing is the maj/min blues Oscar thing. Am I in the ball park?
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sincerely yours,
Todd |
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Mark
VM Coach
Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR
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| Posted: Sat Apr 26, 2008 11:46 pm Post subject: Re: Tune up |
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| thaydon wrote: | | thanks for your reply. I also like tune up and was glad to see it in the recent LBM. I have been listening to 3 versions, miles', yours, and Wes'. Particular what you and Wes do on the major chords. I have begun to transcribe what Wes does during the head, on the one chords as a response after the "orchestra" plays the head. I am figuring what Wes is playing is the maj/min blues Oscar thing. Am I in the ball park? |
Todd,
You're welcome. Yes, you're definitely "in the ball park" regarding the OP treatment of major situations. The major blues sound (linear movement between the minor and major 3rds) is a concept that still eludes many improvisers who base their efforts on scales as opposed to sounds.
Many years ago I became totally infatuated with the major blues concept, and why not? After all, consider the harmonic power it provides as a soulful alternative to conventional major thinking. All of a sudden you unlock the ability to make almost any standard major chord or progression blues-related, and that in turn has a magnetic effect on the listener.
It's important to keep in mind that what the audience wants and craves first and foremost is the experience of going on an emotional "journey" with you. The last thing on earth they want is some high-brow, esoteric experience that is devoid of soul. Of course, the beauty of Oscar and other improvisers with a deep affinity and respect for the blues is that you get the best of both worlds.
In other words, inside, outside, and blues language all seamlessly blended together. That's my goal, too.
- Mark
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"Anyone can make the simple complicated. Creativity is making the complicated simple" - Mingus |
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Don MacArthur
Joined: 10 Apr 2008
Posts: 50
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| Posted: Tue May 06, 2008 8:57 pm Post subject: |
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I had no idea what the major blues sound was or how to us it until after going through the Swing Blues and R&B Lesson By Mail Programs.
Don MacArthur |
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