"Footprints" "Turnaround"
I jammed on Footprints for the first time this week, which was a lot of fun, albeit difficult. The song is a C minor blues with a twist of a turnaround, which I was unprepared for and slogged through. Although I've seen several variants of bars 8-10, I'm using the Real Book vol. 6, where the changes are F#m7b5 F7#11 / E7b5#9 A7b5#9.
At first it's hard to make sense of these changes. The usual turnaround to Cm7 would be Dm7b5 G7alt, or Ab7 G7alt.
It seems like the turnaround is back cycled up another set of ii-Vs. So it could be thought of as
F#m7 B7 / Em A7 / Dm7b5 G7alt
Where the F#m7 is a F#m7b5, B7 is subbed for its tritone F7#11, the Em7 is turned to a dominant chord, and the Dm7b5 G7alt is missing.
In the practice room, my first approach was to just play all the arpeggios, and try to stick the landing when I got to Cm7, resolving smoothly. After I could do that, I created some more interesting lines of my own.
Lick 1- playing down the chord extension, then some chromatic goodness.
Lick 2- taking advantage of the tritone interval that builds the first two chords (could do this for all four chords if you wanted)
Lick 3- scale run up, then a major third interval between the b7 and #4. A slow enclosure, then the jarring interval run over the A.
Lick 4- arpeggio from the b3, then a cool chromatic line with enclosure.
Lick 5- a repeated theme across two sets of chords. The very last note sounds really cool.
You can always quote the melody, which Wayne Shorter does in the Adams Apple recording.
At first it's hard to make sense of these changes. The usual turnaround to Cm7 would be Dm7b5 G7alt, or Ab7 G7alt.
It seems like the turnaround is back cycled up another set of ii-Vs. So it could be thought of as
F#m7 B7 / Em A7 / Dm7b5 G7alt
Where the F#m7 is a F#m7b5, B7 is subbed for its tritone F7#11, the Em7 is turned to a dominant chord, and the Dm7b5 G7alt is missing.
In the practice room, my first approach was to just play all the arpeggios, and try to stick the landing when I got to Cm7, resolving smoothly. After I could do that, I created some more interesting lines of my own.
Lick 1- playing down the chord extension, then some chromatic goodness.
Lick 2- taking advantage of the tritone interval that builds the first two chords (could do this for all four chords if you wanted)
Lick 3- scale run up, then a major third interval between the b7 and #4. A slow enclosure, then the jarring interval run over the A.
Lick 4- arpeggio from the b3, then a cool chromatic line with enclosure.
Lick 5- a repeated theme across two sets of chords. The very last note sounds really cool.
You can always quote the melody, which Wayne Shorter does in the Adams Apple recording.
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