[andrewbowie]

Some tunes, like Nostalgia in Times Square or Killer Joe or Jordu have dominant chords a tone apart, i.e. C7, Bflat7, etc, following each other (often happens in ballads too). I can usually negotiate this without much trouble, because the scales relate so closely that improvising over them is not hard. Is there, though, a way of thinking what one is doing that makes it a bit clearer? Does one just think 'now I'm playing the dominant scale of C, then Bflat', which becomes a bit hectic at faster tempi, or is there some other way of thinking about it and about what substitutions work? Advice appreciated.

 

[Mike Cesati]

Just out line the chords in a permutation get the 3rd and 7th in there. Then do the same on each chord whatever you started with as it descends. It's sequencing.

The listener can follow the descending line , that's what I try to do anyway. Like on Sister Sadie last part of the bridge. on thenor D7 C7 B7 Bb7

One chord per measure so notes could be 5 7 3 1 ....... A C F# D,
G Bb E C, F# A D#B , F Ab D Bb in quarter notes. If you want 8ths you need to think of a phrase like A C A G F# E D C , G Bb G F E D C Bb etc. descending

There is a million possible patterns , but repeating the pattern holds interest to the listener.

 

[hgiles]

C7 | Bb7

Over the above sequence you can play G minor pentatonic or G minor blues scale. I think that's what most people hear first.

Of course, there are almost infinite possibilities beyond that.

 

[DukeCity]

Sometimes I'll play sequences; repeating ideas that move downward with the harmony. BUT, it's sometimes more interesting to play a sequence that goes UP while the chords go DOWN, creating a kind of contrary motion.

Think about picking just one note per chord, and using that as the "main" note of a small, simple motif. You can start with almost any note in the chord/scale, and go from there:

C7: use, say, a D (the 9th); Bb7 use E (the #11); Ab7 use F (the 13th); Gb7 use Gb; E7 take your pick, F# (9), G (the #9)

C7 try a Bb; Bb7 use C (9th); Ab7 use D (#11); Gb7 use Eb (13th) or E (7th), etc.

 

[littlemanbighorn]

You can also play descending sequences that move down in half-steps at two chords per bar (ie. C7 B7 | Bb7 A7 | )

 

[Pgraves]

Might consider trying :

Think modes:
C mixolydian ( G-7 C7 )
Bb mixilydian ( F-7 Bb7)

Think chord combinations:
use triad fragments or patterns any/every way you can think of

C = C and Bb triads
Bb = Bb and Ab triads
or
C = C and D triads ( C7 #11 13)
Bb = Bb and C triads ( Bb7#11 13)

Thinking about it will require less effort eventually

 

[Al Stevens]

Keep it simple until you are comfortable with the changes.

When you run into the repeated C7,Bb7,C7,Bb7, such as in Killer Joe, just play around on C7. In other words, improvise lines based on the F major scale, but keep C7 in your head.

The harmonic context of that sequence is C7. That notion breaks the rules, but it works. Here's how a Bb7 is really a C7.

The Bb7 spelling adds a 9th (D) to the C7, augments the 5 (Ab), suspends 4 (F), and puts 7 (Bflat) on the bottom. But you can let the piano and bass worry about all that. Just riff on C7 and it will sound just fine. Even a little bit outside.

If it's easier, think of the Bb7 as a G7alt/Bb, but I don't think that's easier.

 

[cann0nba11]

When I see | C7 / / / | Bb7 / / / | I sometimes think | C7 / / / | F-7 / Bb7 / |. Or I rotate between C7 and C- including the flat-6. Then I just rock out on C-Blues and throw in the occasional sequence down a halfstep.