Advanced jazz blues Improv Part 2
How and where to outline chord substitutions within the blues form
In the last lesson blog we talked about using some of the most common scales, arpeggios and minor pentatonic scales that can be used over a basic B flat jazz blues.
https://guitartipsandtrix.blogspot.com/2019/06/how-to-solo-over-basic-jazz-blues-part-1.html In this lesson we will talk about how we can spice up the blues by implying chord substitution and what scales we can use over these substitutions. Most of the substitute chord changes will either take place at the last measure or the last 2 measures of each line. Keep in mind that these soloing ideas will work over the basic changes or the advanced chord changes of the blues (Charlie Parker style blues or Bird Blues). Even if the rhythm guitar, piano or bass player does not play these subs they should still sound good. It will create some tension and release, it should give your lines a more sophisticated jazz sound. Have and fun and happy practicing.
Step 1: Simplify your thinking by simplifying the chord changes. The picture below will demonstrate on how you should think. Less thinking means you get to concentrate on the creative side of the brain. For more on drawing from the creative side of the brain read my article: The Right Brain Effect Will Help You Improvise With Ease
https://brainmadesimple.com/left-and-right-hemispheres.html
Start learning some of the scales ideas and inserting them in measures 4, 8 or 12. Start of off by implying the simple harmony and by the 2nd or 3rd chorus you can start employing some of the substitution ideas into your lines. Use them sparingly going back and forth from simple to advanced lines. You will have a variety of ideas to choose from and it will give your playing style a more sophisticated sound.
Review the last lesson before you move on to the ideas below:
https://guitartipsandtrix.blogspot.com/2019/06/how-to-solo-over-basic-jazz-blues-part-1.html
When comping you can play the 1 chord in measure 4, the 6 chord in measure 8 and the V chord in measure 12. Or you can experiment with replacing it with the tritone substitute which are the chords in brackets.
In the last blog we talked about the basic scales, minor petatonics and arpeggios that we can place within the jazz blues form when improvising. The list below is a guide of what scales you can insert in measures 4, 8
Soloing ideas: Measure 8= Bb7 F melodic minor= Bb Lydian b7 for the #11sound, B melodic minor= Bb Altered scale for the b9, #9 and #5 sound
E7 Tritone sub= B melodic minor for the= E lydian b7, F melodic minor= E7 altered for the b9 #9 #5 sound. Notice how B melodic minor and F melodic minor work over both Bb7 and E7
Minor pentatonic ideas:Db minor pentatonic works over Bb7 it gives you the altered sound. On E7 it gives you the 13th, root,9th,3rd and 5th
Tip: add the 3rd of Bb7 D to the Db minor pent. I find it outlines the chord and sounds better
1/2 whole diminished ideas: use the Bb 1/2 whole diminished scale: it gives you the b9 #9, #11, natural 5 and 13th
sound
Arpeggios: Bo7,Do7, Fo7 and Ab07
Dominant 7 arpeggios: Bb7, Db7, E7 and G7
Soloing ideas: Measure 8= G7 Ab melodic minor= G altered for the b9 #9 and #5 sound, D melodic minor= G lydian b7 for the #11 sound
Minor pentatonic ideas: Bb minor pentatonic works over the G7 It gives you the altered sound. On Db7 it give you the 13th, root, 9th and 5th Tip: add the 3rd of G7 B to the Bb minor pent. I find it outlines the chord and sounds better
1/2 wholle diminished ideas: use the G 1/2 whole diminished scale: It gives you the b9 #9 #11, natural 5 and13th sound
Arpeggios: Abo7, Cbo7, Ebbo7 (Do7), Fo7
Dominant 7 Arpeggios: G7, Bb7, Db7, E7
Note:All these scale ideas also work over the tritone Sub Db7
Soloing ideas: Measure 12= F7 C melodic minor= F Lydian b7 for the #11 sound, Gb melodic minor = Gb altered scale for the b9 #9 and #5 sound
Minor pentatonic ideas: Ab minor pentatonic works over F7: it gives the altered sound. On B7 it give you the 13th, root,9th and 5th
Tip: add the 3rd of F7 A to the Ab minor pent. I find it outlines the chord and sounds better
1/2 whole diminsihed ideas: use F 1/2 whole diminished scale: It give yous the b9 #9 #11, natural 5 and 13th sound
Arpeggios: Ao7, Co7, Eb07, F#o7 Dominant 7 arpeggios: F7, Ab7, Cb7, D7
Note:All these scale ideas also work over the tritone Sub B7
Note: when using melodic minor scales in jazz keep the notes the same ascending and descending. The scale is not to be played using the classical method.
Here is an example of how you might use the scales:
The Diagram and video below illustrates my thought process when soloing over a Bb Jazz blues.
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Originally published at http://guitartipsandtrix.blogspot.com.
