Developing a "modern" sound over chord progression

Discussion in 'Jazz / Commercial' started by talcito, Nov 23, 2005.

  1. talcito

    talcito Piano User

    Feb 18, 2004
    I am working on improvising over "latin" vamps. The progression I am working on goes from G7 to F7.

    If I want to start playing "outside" these chords , what scale recomendations, or any other recomendations would work well over this progression? How can I develop a "modern" sound over these chords---I tend to play "naturally" within the keys.

  2. londonhusker

    londonhusker Guest

    Last edited by a moderator: Apr 1, 2007
  3. NickD

    NickD Forte User

    Some other ideas

    These are some things I would try.

    1.) Tritones in stead of G7, play Db7 and in stead of F7, play B7.

    2.) You caould also augment the chords and play a whole tone scale.

    3.) Try a tone row! You can write a 12 tone row (a small rhytmic pattern with all tweleve notes of the scale in it), memorize it and then play it in all 12 keys. You can pop this in now and then to drift out and then drift back in. This can be a fun tool to mess with.

    That's it for now!

    Have fun!

  4. BradHarrison

    BradHarrison Pianissimo User

    Oct 31, 2005
    Toronto, Canada
    Nick beat me to the tritone sub. You can play C#7 -> B7 instead of G7->F7.

    You could also do some lydian dominat stuff. Basically just throw in a #11. Try coupling triads with the lydian tonality. That means you can play G major and A major triads over the G7 and F major and G major triads over the F7.

    Altered scales are the other relatively easy alteration. Play Ab jazz minor over G7 and F# jazz minor over F7.

    That should keep you busy for a while. :D
  5. TrentAustin

    TrentAustin Fortissimo User

    Oct 28, 2003
    KC MO
    Come on, guys... tritone subs are so 'bebop'! Yawn ;)


    I highly encourage you to check out Jerry Bergonzi's book on Minor Pentatonics... for a modern sound. I also have a few methods about minor 6, minor pentatonics, altered pentatonics that eventually I'll get off my tail and put YET another improvisation book out.

    Over G7/F7 you could really go nuts ala Woody with some intervallic improvisation! Set a four note "cell" with four intervals... m2/p4/m6/m7 for example.

    I also love to improvise intervallically as well as using chords with a half/whole step pattern, ala George Garzone/Bergonzi/Leibman, etc.

    Feel free to pm me with questions.

  6. dizforprez

    dizforprez Forte User

    Nov 2, 2003
    I would do as trent suggust and use minor pentatonics, you can start by playing C minor pen over the F7 and D minor pen over the G7. I would not just use them off of the chord tones but also off of the altered tones of the Dom. 7th chord as well. You can use that to make up your own stream of chord changes and give the lines directions, that is something that using just tritones might lack.
  7. TrentAustin

    TrentAustin Fortissimo User

    Oct 28, 2003
    KC MO
    Good suggestion!
    Even better imo would be Cminor6 pent on the f7 and Dminor6 on the G7

    C minor 6 : c eb f g a
    D minor 6 : d f g a b

    Then you avoid playing the 11th on the above chord as well as only having two notes difference between the two scales above. This can be utilized to create some modern lines while still not having to sound excessively angular if you don't want to.


  8. dizforprez

    dizforprez Forte User

    Nov 2, 2003

    yeah, that works even better! at least for a few measure .... how long do you think the rhythm section will stay on the G7 and F7 now that you have "opened the door"?.... :lol:

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