Moving through Jazz Changes, For Buddy?

Greg Derksen · Post by **Greg Derksen** » 16 Jul 2002 8:14 am

Buddy, I'm not sure how to ask but here
goes, On a Jazz Tune where there are more
passing chords and just more chords in
general, how do you approach it? I am referring to soloing through the changes, not
so much the chord work, example would be
"Joy Spring" on the Buddies record, any Tips?
I realize the question is very general, but
am curious to your thoughts, Thanx, Greg

Ron Hogan · Post by **Ron Hogan** » 16 Jul 2002 10:22 am

It sounds like its time for "Advanced C6th" by Buddy Emmons. What do you think Buddy?

Ron

William Steward · Post by **William Steward** » 16 Jul 2002 6:00 pm

Hey Greg...this isn't Buddy....or even close....This constitutes the blind leading the blind category - I am just a piano pounder who likes tunes with lots of chords. A good start is to look at the 'form' of the tune and figure where the main key changes are - look for 2-5-1 resolutions in particular (and obviously the original key signature). You picked a tune that probably has more key changes per sq. in. than any other tune in the Real Book! Glossing over Clifford Brown's "Joy Spring" it starts in F, moves to Gb, then G, to F, to Eb, to Gb, and finally back to F. I struggle with this tune too but try to play a simple solo by at least picking up scale tones in each of the keys with as many passing tones as the ear can stand and the odd dimished lick in between them. Try to get your chordal tones to land on 2 and 4 if you can. Practise the bebop scale in all these keys as an excercise - the bebop scale simply put, is the descending scale at the beginning of John Phillip Sousa's march (can't remember name)a major scale with the addition of a flat 7. Take this for what little it is worth....I do hope Buddy responds to this post. Also recommend you check out some of the great jazz players in your own back yard...if Eric Friedenberg (sax) is still around Calgary he could tell you more about jazz solo lines than most steel gurus. Keep groovin' eh.

Greg Derksen · Post by **Greg Derksen** » 17 Jul 2002 5:15 am

Thanx William, are you on a cruise? Greg

William Steward · Post by **William Steward** » 17 Jul 2002 5:53 am

Greg...no I live here. Off topic for a moment. There is a disproportionate number of us Canucks down here probably due to the weather and absence of taxes (not necessarily in that order). A few of us are hoping to get a little jazz festival going here eventually. Country music is also popular. Let me know if you plan to be in the neighbourhood.....

Mike Delaney · Post by **Mike Delaney** » 23 Jul 2002 8:33 pm

William Steward is right, jazz tunes change key centers often, and the ii-7 V7 progression is how they get from place to place. There are actually three "bop" scales. They are (in C)

C Maj=C,D,E,F,G,Ab,A,B,C
C Min (Dorian)=C,D,Eb,E,F,G,A,Bb,C
C7 (Dominant)=C,D,E,F,G,A,Bb,B,C (The Sousa march is The Thunderer)

They are set up this way for a reason which I will try to briefly explain. Notice that every other note in the major scale is a chord tone of C6. Every other note in the Dominant is a chord tone of C7. This way they define the chord very well as the scale goes by. The Dorian scale is used against a ii-7 chord, and it sets up the Bb to A resolution in the upcoming V7 chord, in this case F7.

Play this as an example-

Cmin7 F7 Bb6
C,D,Eb,E,F,G,A,Bb/A,G,F,E,Eb,D,C,A/Bb

The ii-7 V7 I progression is quite audible.

There is a book available that is just excellent on the subject. It is "The Jazz Theory Book" by Mark Levine, Sher Publications. I think its about $40, and worth much more. I don't think I ever met Mark, but he studied with the late Herb Pomeroy, as did I when I was at Berklee, and the information is exactly right.

You may need the assistance of someone with a strong background in music theory to help you, but they will be learning right along with you. Good luck, and e-mail me if I can be of assistance.

Mike Delaney · Post by **Mike Delaney** » 23 Jul 2002 8:47 pm

Greg-I meant to add that I would be glad to give you an analysis of Joy Spring if you are wanting to learn that tune. (If you are new to jazz, I'd suggest you start out with Satin Doll or something along those lines which are much simpler.)Steel is not my primary instrument, and I can't play jazz on it (although I have more fun with it than you can imagine), so I'm not much help with TAB, but I can tell you the scales to use.