Improv question: change from Major chord to minor

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Improv question: change from Major chord to minor

Postby djangology » Sun Apr 08, 2007 2:58 am

To introduce my question, there are many songs in the gypsy jazz repoirtoire that have a chord change from a Major chord to a minor chord. Here are some examples:

1. Ill See you In My Dreams
2. After You've Gone
3. How High The moon ?
4. I cant believe your in love with me
5. Menilmontant
6. Troublant Bolero
7. On Green Dolphin Street
8. The Man I love
9. Nagasaki (b-part)

What exactly is the significance of this and does anyone have any ideas on what I can try over a change like that? Since the chord change comes quickly, any ideas on how to say a lot in a little amount of time?
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Postby BluesBopHarry » Sun Apr 08, 2007 3:36 am

It can be explained as a modal interchange (using chords from a minor tonality in major) and also sometimes it's used to set up a modulation to another key.

The important difference is the third, right? But you can shift from the major seventh to the minor seventh too.

A lot of the times it happens on the IV (IV-iv). And it is usually followed by the I
If we' re in G, it would go C-Cm. followed by G
I find it can be interchangeable for C- C#o but doesn' t always work well, use your ears and experiment.
You can try this with triads for soloing over the changes:
Chord C/// - Cm///
Arpeggio Em - Eb
Am - Ao
or mix them up

And you can use four note arps too, like go from C6 to Cmin6, Em7 - Eb6, etc.
There are lots of options but harmonically the most important notes to follow are the third and seventh.
A melodic line that follows the changes could feature one of these two guide tone lines or both
E-Eb-D the D falls on the G chord (I) or
B-Bb-B the second B falls on the G chord
And you can always omit the third(E or Eb) and play around C for both chords.

I hope this helps.
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Postby BluesBopHarry » Sun Apr 08, 2007 5:52 am

Forgot to talk about the other case...
when it' s not the IV, usually it' s a major or dominant chord that becomes a ii of another key and almost always it 's followed by a V (as in a ii-V progression ex. How high the moon), when this happens you can just treat it like any ii-V and you´ll be fine for the most part.
To practice I suggest recording a backing track of a short looped progression and playing along with it for the IV-iv-I, and for ii-V-I' s you can make every I a minor thus making it a ii, go to the V, resolving to I which becomes a ii, etc.

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Postby Gmajor » Sun Apr 08, 2007 8:57 pm

Have a look at David Bakers books How to play Bebop 1,2,and 3 also hope this link works
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Postby pete g » Sun Apr 22, 2007 6:07 pm

A simple idea is to play a major lick and then play the same lick three frets up ......
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Postby LuLu » Mon May 21, 2007 6:01 am

The replies to this good question are really helpful. What about a song like "Tears" which has an A section that begins with Cm and a B section that features C major. Is this sort of unique to this composition or is this something seen more often and how might you approach soloing over that? Thanks.
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