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UKRuss
03-18-2006, 02:37 PM
How do we build upon the basic ii V I into the more complex things we see people discussing on the boards?

Substitutions? "Outside" options? Tritone subs? etc.etc.

Well, frankly I have no idea!

I thought if i posted the most basic ii V I with some bass and the most basic lead to go over it then we could discuss how to advance the process from there.

So, to start with here is a ii V I in E.

The chords I use are therefore:

Fmin7 as the ii
B7 as the V
Emaj7 as the root I

I underpin the progression with a basic bassline that tries not to be too clever. Then I use Emajor pent over the top for my lead with some passing tones to keep it slightly more entertaining.

The result is something I think that is immediately recognisable, jolly, and straightforward.

Perhaps those wanting to learn how to make these things more Jazz will start at this point with me first. Have a go using your major pent knowledge over the backing track provided and see what you can come up with.

Then, when we've exhausted that option (shouldn't take too long), we can get some insight from the Jazz guys on what we can do to embellish the progression and our improvisation.

I really don't know what options might be there but I know there is much to discuss and much to learn. So let's go!

I post my version, a backing track, a ptab of the basic major pent shape (duh!) and also another ptab with the passing tones I used in my version...which didn't leave many untouched, but anyway it's a guide for those perhaps doing it first time (like me). I'm sure you'll come up with all sorts of options.

The one thing I ask is that if we do want to progress with ideas on how the whole thing can become mroe complex/interesting then the poster takes time to discuss the theory or make reference to IBM articles that will help and/or post some ptabs with optional improv. scales etc.

I'm looking forward to this, it should be fun and great learning!

As always...Enjoy!

Lowthorpe
03-18-2006, 04:09 PM
Awesome man! My theory knowledge isn't upto scratch to venture into anything outside of the standard scales/arpeggios but I'll definately give this a blast. Problem is, some thief stole my amp power lead from my last gig, so I have my PC power lead - I can either use my amp or PC but not both to record..

Again, I loved your take on it. Very smooth and flowing. I can just see for the dim blue lights, smoke coming up from the floor, just near the stage. :D

And, an excellent idea. I look forward to seeing how we can build upon this, for some 'advanced playing'.

Nick

Ben
03-18-2006, 05:44 PM
I havn't done a strictly for a while so here goes...
Heres my take on the ii V I progression. I'm using the very unadventurous Emajor scale through the whole thing. I think I dwell a little too much on the major third occasionally but major scale improvisation is not something I practise very much (I know I should) so if nothing else its made me use it. I think its a little too busy with 2 lines playing all the way through but I enjoyed working through it. I'm actually really looking forward to other people's take over this backing. Any comments/tips would be much appreciated :D .
Ooo and Russ, great take as always :) .

UKRuss
03-18-2006, 06:08 PM
hey Ben!

Nice playing! but...

I agree, too busy with the twin guitars and possibly not stretching your self out of your rock comfort zone.

I'd like to hear your clean take with no bends or rock licks:D Try for some jazz tone and go for learning to add a nw dimension of playing to your toolbox.

that said though, i think you've improved since last i heard you in the rock context, someones been practicing!

ps. like your soundclick stuff too.

Ben
03-18-2006, 07:23 PM
Cheers Russ. Yep, been practicing loads for my recital next month :D . Actually, listening to it back again, I like it less than i did before, always the way lol. I'll give it a go again in the next week or so wen I have a bit more time away from studing for exams :( . I did the take inbetween chemistry coursework lol. Actually this evening i've been noodling around with a few lines trying 2 sort out some solos for the jazz band and come up wiv some intersting stuff that i can use for the next take :) .

Ben
03-18-2006, 10:17 PM
Here we go, after a few Guinesses to celebrate a belated St Patrick's Day :D I decided to give this another go, mainly out of embarrassment at listening back to the previous one I posted.
I went for a definate 'less is more' approach this time and despite there not being anything technically impressive in the take, it is certainly more musical. After spending a few minutes listening to the backing on the computer, I grabbed a guitar and after a couple of play alongs had something I thought was reasonable and recorded it and despite its simplicity and much more pleased with the results.
PS. sorry Russ, the one bend crept in, couldn't help it :p .

gersdal
03-18-2006, 10:50 PM
Nice one Russ. I'm looking forward to having a got at this one.

Mateo150
03-18-2006, 11:47 PM
jolly quick little diddy

UKRuss
03-19-2006, 07:01 AM
Yes, I liked that one better Ben, simpler approach and better melody. Still struggling to move away from your embedded rock/blues approach to playing but it isn't easy to put all your learnt knowledge to one side. I think that's one of things i hope we can all take away from the exercise is how to be a more rounded player in genres outside our own preferences and comfort zones.

Mateo, long time no see, welcome back! nice stuff. Perhaps a few passing tones that didnt quite work, or shoudl I say, resolve properly and I think string or two a little out of tune? but other than that, Jazzy tone and very nice example of what we're trying to acheive!:D

Gerhard, looking foward to your take big time! Especially if you've managed to sort out that new jazz box? Later on as we progress, you can tell me all about those chord subs you showed me when we first discussed. I don't think i understood how you go about working out whats possible.

ashc
03-19-2006, 12:56 PM
Couldn't resist. I added a piano comp first. The guitar is 1st half I'm trying to be at least a bit jazz - and failing. Then pianist gets a turnaround. Then I gave up and the last bit of guitar is my usual pent rubbish.

Joe Pass Jr
03-19-2006, 03:15 PM
Call me pretentious but E really doesnt cut the cheese when playing jazz. Well it does actually :p Anywho.

A poor take, as allways. Basically i stuck to the Eb major scale and the Cm blues pent, throwing in some passing tones. Toward the end you will hear a Eb dom arpeggio which gave an interesting feel. Totally accidental ofcourse (no pun intended) But ill keep it in the bag and see what i can do with it in future.

Thats about all the tech i can share, for i dont know much about it myself :(

UKRuss
03-19-2006, 05:26 PM
Ash, Were you doing anything different chord wise with the keys? As always I liked the repeating theme in the guitar.

Joe, LOL, you're right! I should have gone with some obscure (in a non jazz player way) key instead! Nice playing, similar kind of theme to my lead I thought but interesting you had some idea with an arp or two.

Now, Lars (Santuzzo) tells me that it is sometimes common for this type of progression to cycle down a whole tone so that the I becomes the ii for the downcycle and so on...hmmm. I've been giving this some thought and think it is one way we could progress our backing track later on.

ashc
03-19-2006, 06:14 PM
Ash, Were you doing anything different chord wise with the keys? As always I liked the repeating theme in the guitar.

Nope, the comping keys is 100% with the chord tones of original chords, mostly diads at any one moment but sometimes triads. So you might get, say an Amajor triad, over the F# bass but it's not a sub or anything like that it still F#Min7. The short break was all E major.

I need to stop the repeating thing - I think you're giving me hint there - I'm starting to bore myself with that as well :D The first repeating thing was arps following the chords and then all E major after that. Not that happy with the guitar but you gotta go with what you've got..

On the other bit, based on my limited knowledge, these key cycles in jazz tunes are often strings of ii - V's only resolving to the I at the end of a cycle? (well something like that anyway). EDIT: DOh! you already said that the I becomes the new ii etc..

mattblack850
03-19-2006, 09:15 PM
Nice Thread Russ!!;)
Great takes everyone!! I'm definately looking forward to some of our 'Jazzers' having a crack at this one!! This could be a really good learning experience for all us Non-Jazzers!!!:D
I'll have something posted later in the week, still a bit busy with this Radio Project, but I need to take some time out from it before it drives me even more insane than I am already!!!:p

Apple-Joe
03-20-2006, 07:15 AM
What a great idea. I have never really understood the characteristicness of the ii - V(7) - I progression. Now I can hopefully dive into it and learn a few things!

UKRuss
03-20-2006, 08:23 AM
characteristicness? See? We play a new genre and we get new words too;) :D

Ash, no really I did mean it in a positive way. i.e. I think it is importantr to have a theme to which one returns or that is repeated to establish a melodic idea.

IMO I don't do that enough, too much improv is not necessarily a good thing...

Now. I fiddled with the idea of the ii becoming the new I etc. and was immediately hit by a problem. But I think you might have sorted it out for me Ash. Effectively then we play strings of ii V avoiding the I til the final moment, is that right? As otherwise I was playing the I and then either going straight to the next V or having to change the I to the new ii before moving on which didn't sound right at all...

ashc
03-20-2006, 08:49 AM
Right, it's a bit early on a monday to get the best out of the little I know about sequences, but I think you can go, like:

Am7 - D7 -> Gm7 - C7 -> Fm7 - Bb7 -> Ebm7 -Ab7 -> Dbm7 - Gb7 -> Bm7 -> E7 -> Am7 - D7 - Gmaj7

There's a generic name for this kind of sequence (real or regular sequence or something). This cycling down in tones is often used in classical music to make key changes as well.

Notice how it differs from a diatonic cycle in keeping the same chord types and regular step size.

UKRuss
03-20-2006, 08:54 AM
I see that! I thought it might be something like that. Instead of actually playing the I, you play it as the next ii.

okley dokley.

Assuming then for improv, you simply move to the next key and keep widdling?

ashc
03-20-2006, 09:02 AM
Takes armbands off, Swims up to deep end marked "Jazz": I think the improv challenge is doing exactly that, but without making it sound like thats what you're doing - just stepping down a scale each time is going to sound duff. So I guess this is where using your modes and arps and subs knowledge etc. etc. gives you the options to smooth those joins.

Since it's all the way around the circle of fifths I guess you "Jazz around the clock" ;-)

Just googled up a nice article here:

http://danadler.com/misc/Cycles.pdf

UKRuss
03-20-2006, 09:07 AM
Brrr. I think we mght save the improv. thing for a little later then...

I'll check out the article. cheers!

edit: whoa! That article is going to come in waaaay handy!

ashc
03-20-2006, 09:20 AM
Give it fifteen years study and beard growing and we might be able to get some light jazz gigs at rotary club dinners :D Warning: this show may include whammy and wah effects with intermittent distortion.

UKRuss
03-20-2006, 09:35 AM
LOL. Given: We're not going to become jazz masters from this thread alone, but we might learn something on the way.Come back and check it in 15 years...:D

Lowthorpe
03-21-2006, 04:50 PM
Here's my contribution. Nothing groundbreaking, just major scale and a repeating theme that's based around interlinking arpeggios, that follow the chord progression.

Enjoyed playing this a lot. :D

Nick

mattblack850
03-21-2006, 08:16 PM
Give it fifteen years beard growing
Now you tell me!! I've just gone and shaved all mine off!!!!

gersdal
03-21-2006, 09:26 PM
Gerhard, looking foward to your take big time! Especially if you've managed to sort out that new jazz box? The jazz box is still on the wish-list, below my wife's pick of new sofa, kitchen etc :D . I managed to get a decent jazz sound from my Fernandes Strat running via my new Fender Blues Junior, though. I hope the weekend will give me sufficient time for a recording.

Later on as we progress, you can tell me all about those chord subs you showed me when we first discussed. I don't think i understood how you go about working out whats possible.I'll try to record some chord subs as well, but I'm still in the learning process here... :cool:

gersdal
03-21-2006, 09:33 PM
Now you tell me!! I've just gone and shaved all mine off!!!!That will be ok. I think italian style mustache is more important for a jazz guitarist. Django, Joe Pass and Jim Hall comes to mind :D

UKRuss
03-22-2006, 08:25 AM
Nice take Nick!

I like the theme element at the beginning and the end, very jazzy. not sure about the bends, trills and artifical harmonics though...Ooofff. I can hear Django turning in his grave!

Perhaps we all need to dump massive gauge strings on for this one to stop us bending:D

UKRuss
03-22-2006, 08:26 AM
That will be ok. I think italian style mustache is more important for a jazz guitarist. Django, Joe Pass and Jim Hall comes to mind :D

In fact one could say unless you are one of ther above mentioned gents, then no kind of 'tash is acceptable at all!:D

Lowthorpe
03-22-2006, 09:34 AM
Hah, I can't help it. I'm all blues at heart, and I just hear that bend in my head, and before I know what I'm doing, my fingers are doing it..

I'll -try- to record another take, focusing more on the jazz approach, and I'll try to give a slightly more detailed overview of what I'm doing. That was a straight in there, second-take recording so I didn't really have chance to think about not going back to my habits much. It was hard enough playing like that, I'm normally always using bends, vibrato and trills. Argh, this is going to kill me. Breaking habits hurts almost as much as breaking fingers. All in the name of open-minded learning & playing, however. ;)

P.S: Artificial harmonics? :confused:

What may have been percieved as an artificial harmonic, was actually a ridiculously poor bend where my fingers were slipping off the strings and it sounded a bit ropey..no..wait....I meant to do that..yea..it was an artificial harmonic.. :p:D

Thanks for listening,
Nick

UKRuss
03-22-2006, 10:09 AM
whoops....no. I swear I can hear some pinch harmonics in there...

Lowthorpe
03-22-2006, 10:11 AM
I'll give it a listen when I get home. Any pinches in there were not intentional. I must be sloppier than I thought.. :p

Nick

UKRuss
03-22-2006, 10:42 AM
sounds like you are correct, they might just be bends that squeeze out a little at the end making them sound a little like a pinch. 0.40,41ish theres a couple.

Apols.

delaney
03-22-2006, 04:20 PM
Dont forget that by harmonisisng the major scale of E you will have other basic shapes to work of which contain all the extensions of the E major scale. For example the 3rd which is G# minor can be played aswell as the Eb major pentatonic. Or the 6th which is the relative minor, it contains the same notes so it will work but they are in a different order so sound different. Try just playing the arrpeggio of G# and then add in other modes of the harmonised scale to see what fits and works for you. The extensions are what cause slight or massive tension and this in jazz is the art of good guitar soloing. Pulling the ear away and bringing it back. Write out the Emajor scale and see for yourself how these modes add the 9th 11th 13th as they go up its quite inteseting.

P.s sorry if this is not part of whats trying to be discussed must go to theory class bye.

UKRuss
03-22-2006, 08:10 PM
Cool, not at all, thats exactly what I'm after cheers!

Will take me a while to assimilate the information:D

ashc
03-23-2006, 04:33 PM
Going Back to the earlier ramble on the ii-V cycles, where the V, instead of leading to the I, becomes a secondary dominat to a new ii. And we get that stepwise movement and we can all the way round the clock back to the start.

I was wondering, without reading the article I posted properly, what happens if you tritone sub the V. Are you supposed to pretend that the original V acts as the dominant to the ii or the subbed one?

So, we had: Am7 - D7 -> Gm7 - C7

Sub the D7 and treat that as the new V;

Am7 - Ab7 -> Dbm7

From Dbm7 you can go to Gb7 or you can do the sub again in which case C7 and you back on the track you started on or you skipped ahead.

Do it again. Back to where you would be:

Am7 - Ab7 -> Dbm7 - C7

OR, more interesting.

Am7 - Ab7 -> Dbm7 - Gb7

Notice how doing it just the once catapults you all that way forward though the original.

Am7 - D7 -> Gm7 - C7 -> Fm7 - Bb7 -> Ebm7 -Ab7 -> Dbm7 - Gb7 -> Bm7 - E7 -> Am7 - D7 - Gmaj7

Can you do that again to make an even shorter loop (the octave divides into two tritones)? I need to figure if I made mistakes so far or not....

EDIT (not the first!): Well anyway it's already less intimidating, isnt it?

Am7 - Ab7 -> Dbm7 - Gb7 -> Bm7 - E7 -> (the start) Am7 - D7 - Gmaj7 (the I)

UKRuss
03-23-2006, 07:33 PM
Cool thinking!:D

ashc
03-23-2006, 10:07 PM
Insane probably :D Anyway, where are all the jazz cats when the squares start making fools of themselves? Are we not worthy? :D

UKRuss
03-24-2006, 09:19 AM
I think they are simply smirking at our inability and beginner level understanding of the whole thing...:D

ashc
03-24-2006, 09:41 AM
Ah yes, I guess thats it :) . I've been travelling the last few days so I havent heard my "level 2" progression yet - but if, when I try it, it sounds OK I might knock up a backing track and see if anyone can handle that (I doubt very much that I can).

UKRuss
03-24-2006, 09:49 AM
Good idea. Go for it!

Shredmaniac
03-24-2006, 11:04 AM
Here's my take, and first participation to a "Strictly" thread (yay !). I just recorded a rythm guitar as a backing track over Russ' chord progression, I hope that's ok and "by the rules" ^^.

Since I'm not a good jazz player at all you can hear me searching for the next note, so my timing is way off at some points in the take. I tried to use arpeggios as well as scales.

ashc
03-25-2006, 10:42 AM
Good idea. Go for it!

Here it is then a "level 2" backing in a bossa style (as close as I can get anyway) with some slightly nervous comping!

|: Am7 Ab7 Dbm7 Gb7 Bm7 E7 :| Am7 D7 Gmaj7

Oh yes, 2 bars (measures if you prefer) a chord !!

Shredmaniac
03-25-2006, 11:03 AM
Thanks Ashc ! I'll give it a try this week !! =)

Pekkaman
03-25-2006, 12:50 PM
I liked improvising over the progression so I thought I'd record something. My theory knowledge hardly goes beyond "E maj eh? I know that pattern!", so.. don't expect anything fancy. (And oh, my sorry about the extreamly bad quality, bad recordning equipment :/)

ashc
03-25-2006, 12:53 PM
@Shredmaniac: your take on the original progression sounded pretty good and authentic to me! Looking forward to yours, and any others who'll dare, having a go with this slightly harder prog.

@Russ : What do you reckon, am I taking this in the direction you intended at the start?

UKRuss
03-25-2006, 06:23 PM
Here's my take, and first participation to a "Strictly" thread (yay !). I just recorded a rythm guitar as a backing track over Russ' chord progression, I hope that's ok and "by the rules" ^^.

Since I'm not a good jazz player at all you can hear me searching for the next note, so my timing is way off at some points in the take. I tried to use arpeggios as well as scales.

Excellent! Shredmaniac. My favourite take so far, great tone btw!

UKRuss
03-25-2006, 06:25 PM
@Shredmaniac: your take on the original progression sounded pretty good and authentic to me! Looking forward to yours, and any others who'll dare, having a go with this slightly harder prog.

@Russ : What do you reckon, am I taking this in the direction you intended at the start?

Yeah!!!! great! thats fantsatic. exactly the kind of progression the thread should take.

I feel the girl from ipanema coming on!!

UKRuss
03-25-2006, 06:35 PM
Great take Pekkaman, it's all in there, nine tone, nice phrasing, very good take!

Pekkaman
03-26-2006, 01:03 AM
Great take Pekkaman, it's all in there, nine tone, nice phrasing, very good take!

Thank you :)

Shredmaniac
03-27-2006, 12:21 PM
@Russ : Thanks a lot =)

Ok, here's my take on Ashc's progression. Had to use Mr. Brain a little more :p

ashc
03-27-2006, 04:45 PM
Thats excellent! Especially since the progression is difficult enough that you have to play the changes.

I'm really chuffed that someone had a go at it as well. I need to try in the next couple of days to find enough time to come up with something. I think the solo is going to be a lot harder than the backing track!!

eastwood
03-28-2006, 02:07 PM
I'm gonna ask a question and it might be a stupid one so don't shout !

Where do you get the Fmin chord if the key is E Major ?

I thought F#m would be the ii in E Major ?

My theory is ropey so bear with me on this....

Daz

ashc
03-28-2006, 02:22 PM
It was a typo ;-) In the track it was really F#m

eastwood
03-28-2006, 02:25 PM
Ash....Cheers buddy !

Daz

TonyDas
03-31-2006, 10:26 AM
Hey guys. Man! This is some good stuff!
I've been so busy, I haven't had the time to do anything here. I hope I can soon, coz there's some killer stuff to work on.
Cheers people

Bande
04-13-2006, 07:50 PM
Ok, I haven't participated in a stricktly a very very long time ago, so i thought i would try this one.

The only problem is that I'm no jazzer, in fact I haven't ever played jazz in my life before. So my take is not more than random experimenting.

But, hey, I just gave it a try.

kjellen
01-08-2007, 12:26 AM
I did more of a theoretical approach to this one, so it's not a coherent piece, more like short passages of concepts of how to break down the ii - V - I-progression, so 8 isolated snippets with 2-3 bars of music. I'll try to explain the ideas below.


I threw in a collection of "substitute licks" where I play over chord progressions not present, but interchangable with the ii - V - I

("imagined" progressions in paranthesis)

1 : Straightforward E major (F#m7 | B7 | Emaj7)
2 : Tritone substitute arps (F#m7 | F7 | Emaj7)
3 : Double trit-subst (F#m7 - C7 | B7 - F7 | Emaj7)
4 : "The Coltrane Matrice" (F#m7 - Gmaj7 | Cmaj7 - Fmaj7 | Emaj7)

Then some other concepts:

5 : Superlocrian scale over V
6 : Minor Pentatonic shapes from different chord notes (as per this (http://www.ibreathemusic.com/article/175) article by CJ)
7 : Diminshed chord arps over V (as a V7b9 chord, really)
8 : Scales derived from chords ( F# dorian and B mixolydian #5 (from B7#5))


The change in tone comes from me having to turn off my amp and record direct because I was keeping people awake.

kjellen
01-09-2007, 12:37 PM
Took a hit at your progression too, ashc, will have to come back to it, tho, since I'm by no means satisfied. Great fun, tho! :D

UKRuss
01-09-2007, 01:23 PM
Oh, that's some tasy playing and ideas!!!

Any chance you can tab out some of those ideas for us? Equally for the Dorian one?

Thanks.

kjellen
01-09-2007, 01:29 PM
Yeah, I should think so. Will start on it now, but it might take a little while to finish, as I need to beat Chelsea off of the Premiership throne in FM... :D

ashc
01-09-2007, 02:05 PM
Great job Kjellen! Only the second person to have a go at that after Pierre (shredmaniac). The overall sounds quite authentic - nice comping for you :D

I'm far too limited "following the changes" on guitar to do any credit to this myself at this point (or maybe ever), but I might break out a "vibes" patch on the synth at the weekend and have a go.

kjellen
01-09-2007, 02:57 PM
Here it is. A ptb of the original 251-strictly i did. The extended bossa-thingy was done with some of these ideas here and there. If anything is unclear, or if more explaining surrounding the ideas are wanted, by all means - ask! :)

kjellen
01-09-2007, 02:59 PM
Thanks ashc! Was fun, want to do some more. Maybe we should add more "extended changes-strictlies" as well. :)

And Russ, I'll do some checking on the Dorian one as well, and maybe tab out some of the good licks, there shouldn't be too many... ;)

And Shredmaniac's take was wonderful, really nice phrasing and tone. Makes me suspect I'm too hung up on going "outside", since with a progression with so many key changes makes it melodically interesting even without going outside it.

Shredmaniac
01-10-2007, 07:36 AM
Wow kjellen... This is the kind of take that makes me want to practice a LOT more and improve ! Great phrases ! Your take revealed a lot of my weaknesses : I have a lot of trouble playing outside with taste, I don't have a lot of lines I can call during a solo (and we all know how useful patterns or lines are useful in jazz improvisation). I actually tried to convince myself it was all for the better, but in reality I was just being lazy, or practicing other stuff while complaining about my jazz skills :p

I was actually working on outlining altered tones on the V chord more when you put your take up. Needless to say it was inspiring. Maybe I'll try it again during the week !

Pierre

P.S. To all iBreathers who participated in this thread : come have a go at the Strickly Chord Melody Joe Pass Jr. put up a few months ago ! There have been really few replies, and it would be great to exchange thoughts on this difficult topic.

kjellen
01-10-2007, 09:41 AM
Thanks, mate! And I'll do a try at the Chord Melody one soon, I like that stuff. Maybe even put up some standard-strictlies with common progressions. This site and these striclies are really a great way to hone jazz-skills.

kjellen
01-10-2007, 02:07 PM
Here's the concepts in pdf-format. Hope you're happy now, Russ... :P

UKRuss
01-10-2007, 03:09 PM
LOL! Yes perfect! I shall add that to the long list of be-bop style licks that i can't play and don't understand:D

Seriously, thanks. I'll get working on those.

@Shredmaniac: Unfortunately I think it was as simple as you say. For most of us the strictly chord melody was simply too hard!

I may try and have a go one day...

Kinoble
01-30-2007, 12:13 PM
Hi guys,

Eventually have got round to contributuing to this thread, thought as i should as im doing jazz for my degree!

Anyhows, theory-wise my track is largely diatonic, with emphasis on resolving a lines chord tones. I do use B half-whole scale over the B7 chord, yielding some chromatics and altered extensions that rub a little. I also use some subsitiute arppegios briefly over the ii and the I. Also you will hear me play an arpeggio and then move it down a half-step, a common idea in jazz, which doesnt rub too much as we are used to the rythm/phrasing in motif before. And there is a sneaky bend in there, which isnt common, but just came out!

I apologise for the roughness, this was a 3rd take, and entirely improvised.

Anyhows thanks,

Ben

kjellen
01-30-2007, 01:10 PM
Very nice, Ben. A lot of tasty lines there. I (surprisingly enough :P) liked the "outside" lines the best - really well delivered. :)

Kinoble
01-30-2007, 04:42 PM
Hey kjellen,


Thanks for the feedback. Gald you liked the 'outside' lines, even though i didnt include very many. Your take was great btw, some real control weaving the outside lines in and out of the chords, nice one! ;)

Ben

kjellen
01-30-2007, 06:38 PM
Hey kjellen,


Thanks for the feedback. Gald you liked the 'outside' lines, even though i didnt include very many. Your take was great btw, some real control weaving the outside lines in and out of the chords, nice one! ;)

Ben


Well, I stopped the playback between each 4-bar-period to plan what I'd do. :P I thought I'd just do a "theory lesson" rather than an improvisation, so you should know I'm not THAT good at doing the same thing live. ;)

EDIT: That is if you meant the original 251. The Bossa-thingy was improvised (although I played around with the progression before I threw myself at it, of course)

joeyd929
02-02-2007, 01:48 AM
I had some time this week to finally record a little. Played around with the strictly II V I thing. I posted it here. There are a few glitches but I just left them in..

joeyd929
02-02-2007, 02:06 AM
Notice how doing it just the once catapults you all that way forward though the original.

Am7 - D7 -> Gm7 - C7 -> Fm7 - Bb7 -> Ebm7 -Ab7 -> Dbm7 - Gb7 -> Bm7 - E7 -> Am7 - D7 - Gmaj7

Can you do that again to make an even shorter loop (the octave divides into two tritones)? I need to figure if I made mistakes so far or not....

EDIT (not the first!): Well anyway it's already less intimidating, isnt it?

Am7 - Ab7 -> Dbm7 - Gb7 -> Bm7 - E7 -> (the start) Am7 - D7 - Gmaj7 (the I)

I just noticed that this progression moves forward in falling fifths, (fourths)
Cool.

Shredmaniac
02-02-2007, 07:55 AM
@Joey :

I think your take was over Joe Pass Jr.'s backing track for his "strickly chord melody", not UkRuss' or Ashc's :)

joeyd929
02-02-2007, 12:20 PM
Yeah, I didn't realize that until after I recorded it. Have a bunch of jam files here, lost track of which was which. Anyway, it is what it is...So, I will call it solo over strictly chord melody joe pass jr. thing. Sorry..

meritonemusic
06-07-2014, 08:02 AM
Here are some playlists for 2-5-1 practice play alongs you guys may find handy!

Here's an example -


https://www.youtube.com/watch?v=IQpvVnHdqck


2-5-1 jazz backing tracks PRACTICE PLAYLIST (http://www.youtube.com/playlist?list=PLVVk2nQ5iO89Mu6uAR_XaqBb3DqGk245B)


Minor 2-5-1 backing tracks PRACTICE PLAYLIST (http://www.youtube.com/playlist?list=PLVVk2nQ5iO89q4Am0qqZGhXnQSnpJzhy2)