Cissy Strut. Soloing over 7th chord vamp

ndcaster

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Not a single note of that example was outside. Modal, yes, outside, no.

Also, while it's instructive to understand the original solo there no commandment to follow it, right?
I just meant outside the chord tones, but you're right of course

true, there is no commandment other than to keep time
 

ASATKat

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This is what I often share. It uses minor pents moving in major 3rds. That's all, movement that Coltrane used in his playing.
I'm using 3 notes from Am pent, 3 from Fm, and 3 from C#m. I chose to make this
ascend in almost a sequence but not a sequence.
These 3 pents have endless combinations as Coltrane knew all so well.

Am7 or C7 vamp
---Am-------Fm---------C#m----------Am--------Fm-----< pents afterwards maybe C7 blues licks?
-5-------------------------------------------------------------------------
----8----5--6-------6--7---------7--8--5-----8--9--6-----9--10
-------7--------8------------9--6-------------7-------------8---------
--------------------8------------------------------------------------------
----------------------------------------------------------------------------

Or this simple Cotrane-esque line
C7
---------------------11----------------------------------------
-13---11---13------12------14--12--------------------
------------------------------13------------12--8--10-----
--------------------------------------------------------------10
-----------------------------------------------------------------
-----------------------------------------------------------------

Or same thing down a minor 3rd

Am7/C7
----------------8--------------------------------
10--8--10-----9------11--9----------10
---------------------10------------9-----------
-----------------------------------------11-----
--------------------------------------------------
--------------------------------------------------
 
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Jazzcaster21

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This is what I often share. It uses minor pents moving in major 3rds. That's all, movement that Coltrane used in his playing.
I'm using 3 notes from Am pent, 3 from Fm, and 3 from C#m. I chose to make this
ascend in almost a sequence but not a sequence.
These 3 pents have endless combinations as Coltrane knew all so well.

Am7 or C7 vamp
---Am-------Fm---------C#m----------Am--------Fm-----< pents afterwards maybe C7 blues licks?
-5-------------------------------------------------------------------------
----8----5--6-------6--7---------7--8--5-----8--9--6-----9--10
-------7--------8------------9--6-------------7-------------8---------
--------------------8------------------------------------------------------
----------------------------------------------------------------------------

Or this simple Cotrane-esque line
C7
---------------------11----------------------------------------
-13---11---13------12------14--12--------------------
------------------------------13------------12--8--10-----
--------------------------------------------------------------10
-----------------------------------------------------------------
-----------------------------------------------------------------

Or same thing down a minor 3rd

Am7/C7
----------------8--------------------------------
10--8--10-----9------11--9----------10
---------------------10------------9-----------
-----------------------------------------11-----
--------------------------------------------------
--------------------------------------------------
that is a favorite trick of mine when I want to go out but with some structure involved rather than just going for the altered scale. A rather advanced concept too if you aren't used to it but it can work well over anything and not just modal stuff.
 

ASATKat

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that is a favorite trick of mine when I want to go out but with some structure involved rather than just going for the altered scale. A rather advanced concept too if you aren't used to it but it can work well over anything and not just modal stuff.
I like squeezing it into 12 bar blues or a boogie for just a handful of notes then back into blues. I haven't had any luck using it on Adele songs lol. Another way to say that is, this Coltrane sound is for "out" sounds that are like sonic MC Escher "dimensional puzzles" that don't insist on resolution like altered scales do. I also don't find them to be emotive, not good for a love song per say. But there is a great satisfaction hearing the cyclic 'trane idea in static jams. Maybe because it uses all 12 tones, although you don't have to use all 12 to get the desired effect.. Maybe it's the movement of major 3rds that gives it its unique sound.

My hat goes off those that have developed this sound, and to Steve Kimock that turned me on to it and explained it like an expert over on The Gear Page. Funny and sad this was never really taught in the colleges I wen't to, other than learn how to solo over Giant Steps, no modern applications. Although Barry Greene mentions it briefly in one of his books with a blues example, but just one. The concept needs a whole dedicated book.
 
Last edited:

Ian T

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It's an iconic classic funk tune from one of the greatest funk bands of all time that deserves to be treated with respect. If you are playing a bunch of analytical crap like triad pairs or plugging in some other patterns or flashy gimmicks you are doing it wrong. It should be about being completely present in the feel and playing from that place, spontaneously. It's about your swagger, your feel, being soulful.

I'd say to focus on building phrases that lead into the next and go somehwere, getting deep into the pocket, and singing through your instrument Singing along with what you play is the best way to turn off that calculator mind and get more into your soul.

But hey, that's just the way I like to go about it. Music is subjective and your own thing, so if you want to be a flashy triad pair guy or whatever, you do you.
 

klasaine

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Backing Track for this tune is up over at the Twanger Central sub forum ... ifn you maybe wanna show what you know/learned - ?
 




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