Overall Rating: 5.0 (of 5)
Handling A Tricky Solo
Coming up (on page 3) are the chord changes to a well-known standard.
I've split it all up into 8-bar sections to make it easier, then put it all together at the end.
When we come to the chord progression you'll see that it's basically a number of 2-5's, major and minor, in different keys. There's the odd other chord as well.
Playing jazz demands that we stray from the strictly diatonic and introduce altered sounds. There are a number of ways to do this, chiefly using the altered (jazz minor) scale. I'm not going to do that here because it's the usual way and I want to do something different.
In order to simplify matters, and produce a perfectly good solo, I've decided to use only one technique to produce these sounds, that of minor third substitution.
What this means is that in, say, the sequence Dm7 - G7alt, you can use D dorian over the Dm. Then you shift it all up a minor third to Fm (playing F dorian) over the G7alt.
In the progression we'll use there are several
2-5's. The same idea can be used.
If you look at a minor 2-5, say Bm7b5 - E7b9, the Bm7b5 contains the same notes as a Dm6 so one can play the 'major' 2-5 over the minor. It works.
This is a good technique and one used by most professionals. As you can hear in the examples below, there's nothing wrong with using this to effect an altered sound.