Joined:7/18/2008, 5:15 am
Last Visit:5/13/2012, 3:20 am
This lesson is of a Jazz standard called Blue Bossa. I am mostly covering the chord progression in this lesson as an example to the key modulation related to the back cycling lesson. However I will give you some tips and ideas on soloing over this with text and modal examples toward the end. The video included will focus on the chord shapes (refer to CAGED sequence lesson) and bass line I added for more interesting harmony where the text will focus primarily on the changes in the progression as it modulates.
This is a great chord progression as far as melody, increasing your chord vocabulary and interesting chromatic links when soloing which I will cover in another lesson.
This first part is a 1-4-2-5-1 in the key of Cm. The chords will follow in that order as follows,
A Shape Cm7
:note that the Fm can also be Fm7 as more commonly used. I added the 5th for the alternating Bass line.
E Shape Fm
D Shape Dm7b5
E Shape G7
Then back to Cm7. Refer to video for count on chord timing.
This next part uses a 2-5-1 modulation as seen in the Back Cycling lesson. The new key is a modulation into DbMAJ7.
A shape Ebm7
E Shape Ab7
A Shape DbMaj7
Now the key modulates back to Cm by using another 2-5-1 but you will notice the 2 will be a Dm7b5 as Diatonic sequence would suggest being the minor key is only a 6th degree of a Major key. Making the 2 chord of a minor key the 7 chord of a Major. (Refer to Diatonic sequence lesson)
Observe the smooth transaction from DbMaj7 to Dm7b5. Thinking about the process in what makes a Major 7 chord .To flatten each quality interval would create some interesting chromatic implications for soloing and for future interesting chord progressions. Also notice we stay in position for the next chord rather than moving back to the D Shape Dm7b5 chord. This is why it is so important to learn how to use all the CAGED forms at will. Learn every song you know with all 5 chord shapes. Watch the possibilities open as well as your knowledge of the fretboard. Pay close attention to the voicings and their qualaties.
A shape Dm7b5
If you would like to solo over this keep it simple at first. It doesn't matter how Anyone other than you understands music. If you don't get it then no method can teach you. You have to understand it in your own way concidering the theories. If you play in minor keys all the time then learn this from a minor key perspective. That way it will fill in blanks and open doors you have already discovered rather than adding a whole new philosiphy to your playing. Simple is good because it's the innovations of simple ideas that became great thoughts!
So as a basic level, For the first part solo in Cm or use the C Aeolian mode.
Here is C Aeolian in relation to the C Minor Pentatonic scale. (Pentatonic in red)
Over the 2-5-1 modulation to the key of Db Major you will solo in Db Major's relative minor key which is Bb Minor.
Here is Bb Aeolian
Layering the two keys on top of each other will open the door to chromatic links between the keys which can easily be used during the transition of key changes. This is a great area to explore espicially if you are not use to playing more than 3 notes per string. You will discover great difficulties in exicution which you should overcome and master.
Red will be Bbm, Green will be Cm, and yellow will be tones they share. Keep in mind this is only from one position. There are several connections using these same notes as they permutate throughout the neck.
There are several ways to play these modes so explore your possibilities!!