Major, but not TOO major

[taboot]

I've just started jamming with some intense jazz fusion-type players (the guitarist reminds me a lot of Scofield) and I keep having issues with the major chords: Somehow, when they solo in major keys, it sounds harmonically adventurous. When it's my turn in the major keys, I sound more like a souped-up Disney tune: happy-go-lucky and boooooring. I'd like to explore how to make these solos a little darker, but I'm getting bored just playing the minor third over the major chord. Advice?

Christian

[glauber]

Yes, Jazzmando's theory articles. Explore the 4ths and augmented 4ths ("Use the Fourth, Luke!"). Create ambiguity by avoiding the root and the third. Et cetera...

[Pete Martin]

A good approach to ANY improvising is to first sing what you'd like to hear yourself play, then learn how to play what you sing. Best of luck.

[JimD]

Speaking of the raised fourth -- try a Lydian mode instead of the major scale:

1 2 3 #4 5 6 7 1 as compared to a major scale.

Emphasize the higher extensions: 9th (2), #11 (#4) and 13 (6).

Actually, this is just an extension of what Glauber said.

[bjc]

Play in the relative minor and throw those "blues" notes...as stated above #4 and flat 7...even try playing chromatic...that always gets attention...sometimes not always good...:-)

[Flowerpot]

Good ideas here. Another trick that works sometimes is to start your phases thinking of another chord (or chord progression) that leads into the major chord you're in. one thing I think sounds good is to use the V min7 chord tones; for instance, in the key of C use the notes from a Gmin7, or in the key of G use Dmin7. That gives you the emphasis on the 5, b7, 9, and 11 (4th) (relative to the major chord) which sounds interesting without being atonal.

Another example of chord(s) to use are the ii - V - I, and base a run on those relative chords even though the rhythm is just playing one major chord (I). That kind of gives your phrasing a tension/resolution feel.

[Peter Hackman]

I wonder, how meaningful is all this advice without
more detailed knowledge of the harmonic language
and style in general? I wouldn't impose the Lydian
on everything I play.

[Perry]

Check out my review of the Steve Khan book Pentatonic Khancepts just posted on the Cafe.

I got this out of the book:

Besides playing the minor pentatonic built on the third of the major chord play a minor pentatonic built on the the 7th (the major 7th) of the major chord. What you get is use of the #4 with "some degree of subtlety".

i.e. over E major play Eb minor pentatonic

cheers,

perry