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I'm a N00b here, so I hope I'm not too much of a contrarian, but I think that a good improviser should look for opportunities to call attention to the "fleeting" key centers. I think that was the genius of Charlie Parker -- to be able to incorporate those slight half-step shifts in the 6ths, 7ths, 9ths and so on to reflect rapid chord changes, without sacrificing a melodic idea (the danger in playing every chord is that you could conceivably wind with a dull series of arpeggios. But the ideal should be to walk and chew gum at the same time.) Also, the more I play, the more I realize that dominant 7 chords are my friend, and you can play them when they are only implied -- like if you are playing over a sustained Dm vamp, you can throw in an A7 idea at the end of a phrase to prepare for the next phrase, and since you are playing an A7 idea, you can extend it into a C7 or a Eb7 or Gb7 idea and it all can resolve beautifully back to Dm. And there you have your passport to introduce pitches that fall outside the key center.
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