Sax on the Web Forum banner

1 - 10 of 10 Posts

·
Registered
Joined
·
26 Posts
Discussion Starter #1
Hi,
How would you solo on Miles Davis' Solar. This tune has a weird chord progression (concert tones):

| cm | cm | G7 | C7 |

| Fmaj7 | Fmaj7 | fm7 | Bb7 |

| Ebmaj7 |ebm7 Ab7 | Dbmaj7 | dm7b5 G7b9 |
 

·
Administrator
Joined
·
17,276 Posts

·
Registered
Joined
·
459 Posts
Hi,
How would you solo on Miles Davis' Solar. This tune has a weird chord progression (concert tones):

| cm | cm | G7 | C7 |

| Fmaj7 | Fmaj7 | fm7 | Bb7 |

| Ebmaj7 |ebm7 Ab7 | Dbmaj7 | dm7b5 G7b9 |
Hi Rozanno, Solar is just a series of II-V-Is through a few different key centres, broken down as follows:

Bar 1-2 : C minor
Bars 3-6 : F major :- Gm7 (I think you have this wrong as G7 above?) - C7 - Fmaj7
Bars 7 - 9 : Eb major :- Fm7 - Bb7 - Ebmaj7
Bars 10 - 11 : Db major :- Ebm7 - Ab7 - Dbmaj7
Bar 12 : C minor :- Dm7b5 - G7b9 taking you back to the C minor in bar 1.
 

·
Registered
Joined
·
26 Posts
Discussion Starter #4
Hi Rozanno, Solar is just a series of II-V-Is through a few different key centres, broken down as follows:

Bar 1-2 : C minor
Bars 3-6 : F major :- Gm7 (I think you have this wrong as G7 above?) - C7 - Fmaj7
Bars 7 - 9 : Eb major :- Fm7 - Bb7 - Ebmaj7
Bars 10 - 11 : Db major :- Ebm7 - Ab7 - Dbmaj7
Bar 12 : C minor :- Dm7b5 - G7b9 taking you back to the C minor in bar 1.
Yes, it should be Gm7, I transposed it from the B flat sheet music and did it wrong
Anyway, I tried the II-V-I but, the speed is also high
 

·
Registered
Joined
·
459 Posts
If you have a look in the TOTM thread linked above, there are some slower backings for Solar there.
 

·
Registered
Joined
·
525 Posts
Everything posted so far is spot on. Perhaps a way to start to navigate ii-V's would also be of value.

The thing about ii-V-I progressions is not only to resolve nicely to I. To resolve from the ii to the V is also a big part of it. One of the more common ways to hear it is to resolve the 7th degree of the ii chord to the 3rd degree of the V chord.

Number the ii chord's scale degrees 1 though 8. For C-7 that would be C=1 D=2 Eb=3 F=4 G=5 A=6 Bb=7 C=8. For F7 that would be F=1 G=2 Ab=3 Bb=4 C=5 D=6 Eb=7 F=8. Notice that those are the same notes, one starting on C, one starting on F.

The attached is a facsimile of materials used by Jerry Coker when introducing me to this kind of material. Jerry's all about Digital Patterns (see Patterns For Jazz), I took lessons from him for my first 2 years of college. See examples 13 and 14, they have the scale digits shown. Play these in all 12 keys. Once you get the sound of resolving 7 of ii to 3 of V, make up your own patterns, with the resolution point doing the same thing.

This isn't the only way to approach the same idea. You could potentially resolve any note of ii to any note of V. Some appear more commonly in Bebop than others, such as 5 of ii to 1 of V. Once this one is in your ears, I think you'll be able to hear how others approach it.
 

·
Registered
Joined
·
459 Posts
Just need to correct the 3 of your F7 to A natural there, otherwise this is all good stuff.
 

·
Registered
Joined
·
26 Posts
Discussion Starter #8
Everything posted so far is spot on. Perhaps a way to start to navigate ii-V's would also be of value.

The thing about ii-V-I progressions is not only to resolve nicely to I. To resolve from the ii to the V is also a big part of it. One of the more common ways to hear it is to resolve the 7th degree of the ii chord to the 3rd degree of the V chord.

Number the ii chord's scale degrees 1 though 8. For C-7 that would be C=1 D=2 Eb=3 F=4 G=5 A=6 Bb=7 C=8. For F7 that would be F=1 G=2 Ab=3 Bb=4 C=5 D=6 Eb=7 F=8. Notice that those are the same notes, one starting on C, one starting on F.

The attached is a facsimile of materials used by Jerry Coker when introducing me to this kind of material. Jerry's all about Digital Patterns (see Patterns For Jazz), I took lessons from him for my first 2 years of college. See examples 13 and 14, they have the scale digits shown. Play these in all 12 keys. Once you get the sound of resolving 7 of ii to 3 of V, make up your own patterns, with the resolution point doing the same thing.

This isn't the only way to approach the same idea. You could potentially resolve any note of ii to any note of V. Some appear more commonly in Bebop than others, such as 5 of ii to 1 of V. Once this one is in your ears, I think you'll be able to hear how others approach it.
Got it! Thanks
 

·
Registered
Joined
·
21 Posts
Practice it slower and slower until you can feel in control and voice lead through the changes. And isolate the parts of the tune that give you the most trouble. Don't just go through the whole form over and over.
 

·
Forum Contributor 2013-2019
Joined
·
1,010 Posts
1 - 10 of 10 Posts
Top