Midweek Backing Track(s) - Your Choice 06.29.22

[G-52]

Thank you Alan (#1)

 

[klasaine]

My bad …I thought these backing tracks were to improvise to …..not to play along with. Being that I play everything by ear. I just need to hear it thru once for the changes. Then I can come up with additional things to add to the backing track. Thanks though.

You can do whatever you want over them.
I was just offering up the chords for the folks that can't always hear the changes.
Looking forward to your take on #2.

 

[Alan L Cole]

And lastly, my take on #1:

 

[ASATKat]

#2 Warm Chill

Warm just standing outside, chilly on my ebike at 10mph.

 

[ASATKat]

You can do whatever you want over them.
I was just offering up the chords for the folks that can't always hear the changes.
Looking forward to your take on #2.

The chords are good, basically I hear the F chord and the Bb chord and then the Bb goes minor for one bar, then recycle from homebase.. the other chords are just tension on the F and Bb but don't really change the tonality of F and Bb, with the exception of going to the iv minor. It becomes easy enough to just shut my eyes.

 

[klasaine]

the other chords are just tension on the F and Bb but don't really change the tonality of F and Bb

We'll just have to 'agree to disagree' on that .

 

[ASATKat]

We'll just have to 'agree to disagree' on that .

Don't get me wrong, I hear the changes and agree with you, and I definitely played the arps and color tones and all in my take. But I can simplify the thinking to simple chords and hear chords like Dm7 and Gm7 as different shades or "tension" sounds of the key center F like Sco might do. To him F major is more like Dm, Gm and Am pents more that F Ionian.

If I start to analyze what I'm doing then the chords come into focus. But if I just use my ear I go for the straight path through the progression.

If the progression was harder like Stella By Starlight, I'd rely much more on the actual chords, and I would slow down and go into my head, but for easier stuff my first inclination would be to play by ear and shoot for a straight path through the forest. Also often the melody I'm creating becomes more powerful than the chord tones. I definitely KISS, unlike Sco =/.

 

[klasaine]

Don't get me wrong, I hear the changes and agree with you, and I definitely played the arps and color tones and all in my take. But I can simplify the thinking to simple chords and hear chords like Dm7 and Gm7 as different shades or "tension" sounds of the key center F like Sco might do. To him F major is more like Dm, Gm and Am pents more that F Ionian.

If I start to analyze what I'm doing then the chords come into focus. But if I just use my ear I go for the straight path through the progression.

If the progression was harder like Stella By Starlight, I'd rely much more on the actual chords, and I would slow down and go into my head, but for easier stuff my first inclination would be to play by ear and shoot for a straight path through the forest. Also often the melody I'm creating becomes more powerful than the chord tones. I definitely KISS, unlike Sco =/.

One can certainly play "F" ish over the whole thing, especially F maj penta and F blues. And if one's time, touch and tone are really great - you can get away with that. But the second chord, Eb13b5 and the fourth chord, Bbm6 are outside of the key and in my not so humble opinion, require the improvisor to properly address them. So much potential for COLOR in those chords.

 

[ASATKat]

One can certainly play "F" ish over the whole thing, especially F maj penta and F blues. And if one's time, touch and tone are really great - you can get away with that. But the second chord, Eb13b5 and the fourth chord, Bbm6 are outside of the key and in my not so humble opinion, require the improvisor to properly address them. So much potential for COLOR in those chords.

Yes, address that color.
How to address the color is up in the air. It all comes from the best 7 or 8 note scale, then the scale gets broken up into new groups. Hexatonics, pentatonics, arps,,,,

I think the chromatic 1/2 up move addresses many of the colors. Like Dm7 and Bbm6, these chords are connected by chromatics. So my playing would blend Dm7 and Bbm6. Also blend the Gm7 and Bbm7, "iim7 to ivm7". That is a classic jazzy diminished iim7 V7 alt sound. I know the sound of that minor 3rd move, it's used a lot in jazz standards.

So when the Bbm6 shows up I go up 1/2 step and find my "not in F" notes by ear.

The best part of all this is having a talk with you about it. I learn a lot.

 

[bullfrogblues]

And lastly, my take on #1:

@Alan L Cole I have to say that's some of the best tone and playing by you that I've heard!
And you're still the video king!!

 

[ASATKat]

Here's a second take on #2, a little more gain and notes, but just a little.

Lo Gain

 

[ASATKat]

.

 

[Alex_C]

#2:

Very nice!

 

[boop]

Can't sleep, here is some midweek noodling Cheers

 

[bullfrogblues]

After my negative scope at the urologist I decided to call this one Jump For Joy!!
#3

 

[ASATKat]

Thanks Alan and Clay

I did an acoustic take using my new Luvay pup on my Yamaha through the acoustic mode of my Katana, I get to use the amp's eq and effects so it's a bit treble tamed and ambient, presence is down a bit. Trying to make it soft. I don't play enough acoustic.

Clay's Corner #2