Solo Scales on All Blues (Miles Davis)

[Paul]

Just jammed to this one today, and realized
it's not as simple as it looks on paper.

So after some careful listening and playing
with the original, I've got:


G7 G Mixolydian
C7 C Mixolydian
D7 D Altered, D Half-Whole Diminished
Eb7 Eb Altered, D Half-Whole Diminished(easier to stay on same scale!)
D7 D Altered, D Half-Whole Diminished
G7 G Mixolydian


At least that's what the solos sounded like to me.

Also, most lead sheets show the last two bars as
returning to the G7, but on the recording, to
me it sounds like it's only the piano trill that
is suggesting the G7. The horns are suggesting
something else, like the beginning of the second
to last bar sounds like D7(#9) again.

BTW, ever since I've been doing more arpeggio type
licks, I'm starting to understand why some people
don't like the concept of scale-chord theory
for teaching Jazz soloing. Arpeggios encourage
you to skip notes, and have wider intervals, and
usually sound more melodic than scale-based
licks, which sound like: scales!

And playing scales by themselves are not good sounding melodies.

Scale-chord theory still works for
me, but I've learned to break it up a bit.

Feedback on this song appreciated.....

[ott...@hotmail.com]

On Wednesday, 16 January 2013 18:24:12 UTC-8, Paul wrote:
> Just jammed to this one today, and realized it's not as simple as it looks on paper. So after some careful listening and playing with the original, I've got: G7 G Mixolydian C7 C Mixolydian D7 D Altered, D Half-Whole Diminished Eb7 Eb Altered, D Half-Whole Diminished(easier to stay on same scale!) D7 D Altered, D Half-Whole Diminished G7 G Mixolydian At least that's what the solos sounded like to me. Also, most lead sheets show the last two bars as returning to the G7, but on the recording, to me it sounds like it's only the piano trill that is suggesting the G7. The horns are suggesting something else, like the beginning of the second to last bar sounds like D7(#9) again. BTW, ever since I've been doing more arpeggio type licks, I'm starting to understand why some people don't like the concept of scale-chord theory for teaching Jazz soloing. Arpeggios encourage you to skip notes, and have wider intervals, and usually sound more melodic than scale-based licks, which sound like: scales! And playing scales by themselves are not good sounding melodies. Scale-chord theory still works for me, but I've learned to break it up a bit. Feedback on this song appreciated.....

Sounds reasonable to me.
I believe I read somewhere that Miles gave the guys the 5 modes to be used in this session.
Bg

[matelo...@gmail.com]

The point i'd like to make is that the second chord/scale (bar 5) is really G dorian.
Most people play it like a regular blues going to C7 mixo for the IV chord.
Both are valid choices, but how many blues do we get to play that are modal like this one?
Same notes but different mindset with that classic bassline (which is played thru the head AND solo changes) going thru both the I and IV chords.

[SB]

+1 on the arpeggio comment .. both scale frags w/arpeggios allow for melodic lines IMO

[Joey Goldstein]

I often play over the D7#9 and Eb7#9 chords as if they're really min7
chords.
I'll stay away from the maj 3rds and essentially play dorian or min pent
over both chords.
Almost seems like cheating but it sounds good.
Try it.


--
Joey Goldstein
<http://www.joeygoldstein.com>
<http://home.primus.ca/~joegold/AudioClips/audio.htm>

[charlieguitar]

Speaking of cheating you can just play an Eb scale through both the Eb7 and D7 chords (that maj7 on the Eb7 goes by so fast you hardly notice it).
Charlie

[Paul]

Good tip, thank you. That does sound good, and it's EASY to play!

D Dorian = G Mixolydian, so it's essentially keeping the same
scale for the D7#9.

I still like the D half-whole Dim., because it has both
the flatted and natural 3rd, for a nice ambiguous sound, but
now I have yet another scale option.

[TD]

I knew I couldn't trust you.

[Paul]

You make a good point, because if you think of it as G Mixo going
to G Dorian, you simply just flatten the 3rd, and jam out. Very
easy to do.

But if you think of it as G Mixo to C Mixo, it's not as fluid or
easy.

Thanks for the tip, I'm gonna blow them away next time! LOL!

[TD]

Nothing can replace an experienced ear. Individualizing and codifying nine ways to Sunday is fine, mind you, but at best, it works only in horseshoes.

[charlieguitar]

On Wednesday, January 16, 2013 9:24:12 PM UTC-5, Paul wrote:

If you want just what Miles was doing it is as follows:
G7=G Mix.
C7=C Mix.
G7=G Mix.
D7= D Mix.
Eb7,D7= EbMix.#4
G7= GMix.
Charlie

[TD]

Party pooper.

[charlieguitar]

Well nobody ever said that you had to do just what miles was doing!
Charlie

[SB]

>
> Nothing can replace an experienced ear. Individualizing and codifying nine ways to Sunday is fine, mind you, but at best, it works only in horseshoes.

Even a novice ear can pick up the b7 around the tonal centers and easily jam to these changes.
Right on TD.