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Licks and Tricks: Girl From Ipanema

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November 17, 2018

This month I'm learning "The Girl From Ipanema" and I've been studying its chord changes so I can better navigate the tune when soloing. I've discovered a few cool concepts along the way which I'll share here.

Melodic Minor Triad Pairs

June 04, 2019

This post is a follow up from my last, which explored the use of augmented triads from the melodic minor scale. I was interested in the other triads that make up melodic minor, especially since all but the augmented triad are featured twice consecutively. This unique feature makes melodic minor especially ripe for the use of triad pairs as a soloing technique.

Passing Diminished Turnaround- Miles Davis "Someday My Prince Will Come"

May 12, 2019

The May 2019 tune of the month is "Someday My Prince Will Come," originally from the 1937 movie "Snow White and the Seven Dwarfs" but now a classic jam tune for jazz musicians. The song is also a waltz, written in a time signature of 3/4. The song features several interesting harmonic devices, including passing diminished chords (both a biii dim and a #I dim). This part of the tune can be challenging to solo over, so I've transcribed the improvisational phrases used by Miles Davis in his classic recording to see how he approaches soloing over this tune. Note that I've also posted a blog about quoting the heads of jazz standards as one other possible approach.

"Footprints" "Turnaround"

August 22, 2019

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.

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