autumn leaves jam track

[Memorexman123]

wrong key but whatever

[MarkAndrewMusic]

play cliffs of dover over it ;)

[pipsqueek14]

@MarkAndrewMusic wierd enough it works

[MarshallWillanholli]

Im with FranLesPaul

WHY does it stop? I could jam that for an hour

[fashank22]

@MarshallWillanholli I agree. at least it could stop on a root, rather, it's unresolved. uuuuurrrghhhh

[Bumlosis]

Can you tell where the bassline came from? I'd love to get a transcription if you have it. Great track!

[wesmatron]

Em pent is quite nice over this too

[ProjectVanBand]

great work!!!

[meghanalmighty]

WEEE!!!!

[Cobaltpunk]

This track is awesome. Thanks.

[FranLesPaul]

Why does it stop???

[SMGuitar93]

play an e minor blues and have fuckin fun with it. You'll stumble upon a harmonic minor or an A dorian in there. Just play what sounds good, its jazz, every note is an approach note :)

[Chagsis]

@SMGuitar93

A dorian, B phrygian, etc. works best.

[Chagsis]

@SMGuitar93

A dorian, B phrygian, etc. works best.

[MarshallWillanholli]

@SMGuitar93

Yep in jazz there are no wrong notes only wrong resolution LOVE it

[lilianopapa]

where can I buy the whole thing?

[aussieninja10]

@JamesBannerBass nicely done. After reading your comment, i do see the coltrane changes in there. As i said earlier, i was viewing that as a chromatic

progression, but thats another trick i didnt think of for solo'ing over that part, cheers.

[BarryMClark]

The scale I was taught to play over the E minor bit is an altered harmonic minor. There is the flattened 3 and major 7 but also a major 6. I have heard that scale called a couple of names (Real Harmonic Minor and just the Jazz scale) but not sure what it is commonly called. Maybe it is just me but, for basslines, Iike the sound of that 6 as a walk up.

[phantomofhepiano]

@BarryMClark its called the melodic minor

[alejorag]

@BarryMClark Melodic Minor

[potatoXmosher]

@BarryMClark

That's E Dorian with a raised 7. Really, the 7 deal is only during the second set of chords and especially during the F#m7b5 and B7b9 (Marked as a B7 in this video, but the raised 7 makes it sound like you want to resolve to the b9) But during the main riff, just use a minor 7 instead of the raised and jam out in E Dorian. Personally, I like the E Blues over this and the basic E Minor, but the Dorian would probably sound better in an actual jazz ensemble.

[Sunderlanding]

@potatoXmosher E dorian #7 wouldn't work with the second set of chords. It would conflict with the "c". Just play harmonic minor over the second set of changes.

[potatoXmosher]

@Sunderlanding

I meant for the one F#m7b5. It fits perfectly, but you only have time to use it as a passing tone to the next tonic.

[TheBrownTies]

this is great

[jake3189]

very fun to play to thanks alot

[TheDacy]

My oppinion: E minor, A dorian, combinate both and it sounds beautyfull!

[leftysg18]

@TheDacy Well, that might occur because A dorian IS E minor, which is also G major and B phrygian and D mixolydian... Now that you know this you'll be playing all over the neck!!!! xD

[billycox]

Actually E minor or A dorian

[FFXGuitar]

E minor and A dorian are the same thing

[TheVergile]

same notes - yes

the same - no

[FFXGuitar]

yea they are they same. different depending on what chords are used behind them, but yeah they are exactly the same.

[TheVergile]

Thats half right.

The difference between these scales is the tonal center.

Basically you are right...the chords used "behind" can show us what the tonal center is (dont know the englisch word for it. Hope you will understand nonetheless) - and by that determine, which scale it is.

BUT: Playing a E-Minor scale over an Am-Chord doesnt make it a A-Dorian scale. If the Am-Chord itself isnt the I (Chord built over the tonic), then it doenst shift the tonal center.

[TheVergile]

imagine this Chord Progression:

Em I D7 I Em I Bm

Em I D7 I Am I Em

or something liek this. It is clear, that this progression is in E-Minor. So just imagine you would improvise over this piece with an E-Minor-Scale. When you reach the Am-Bar your E-Minor-Scale wont turn into an A-Dorian Scale.

The Am-Chord works as an Moll-Subdominant, not as an Tonic. The tonal center is E and the minor-Chord.

There is a difference between an E-Minor and an A-Dorian Scale. A huge one.

[billycox]

The E dorian scale is the best, I think....

[albarog]

love it... i use a dorian and g major on it.... is it good?

[JamesBannerBass]

Hey man this was really good for practising walking basslines to! Cheers!

[asphixa]

it's a classic :D

[allsport1313]

wow i just zoned out switchin from Am Pentatonic to Am. funnnnnn XD

[RowanGroen]

unfortunate for you this song is in G major ;)

[allsport1313]

the first chord in the progression is Am7. try soloing in A minor if you don't think it works. it does :)

[RowanGroen]

Yes I already tried:) At some points it actualy sounds more natural then G.

[betroxico]

one mode of A (don´t remember which) has actually the same notes than G, the thing is that instead of F in the scale you play F# and all the other notes natural

[TheVergile]

I wouldsay the piece is in E-Minor.

Why?

G-Major would work to a certain extent, but how do you explain the B7-Chord?

Originally (in G-Major) there would be an Bm-Chord. But the B7 works as a dominant....and that dominant leads to the moll-tonic: Em.

It is not unusual to turn the V of a Minor scale into a Major or Dominant7 Chord. You just have to borrow the d# from the E-harmonic-minor scale.

[GassyMaskz]

I'm curious about the 10th and 11th bar in the B part. What scale are the chords on. I saw the same idea in Donna Lee and a few other songs.

It's obviously not in scale.

[TheVergile]

you mean the

B B I Em Eb7 I Dm Db7

part?

It is not really in a scale. It is more like a chromatic progression from the Em to the CMaj7. There is no real modulation happening here - you just fill the gap between Em and CMaj7 with chords, that dont belong to E-minor.

[aussieninja10]

@GassyMaskz Its whats is known as a chromatic progression. Use the chord tones to solo over this.

[GassyMaskz]

@aussieninja10 Thanks alot, that's a huge help on alot of other songs too

[JamesBannerBass]

I would prefer to say that the Eb7 and Db7 are tritone subsitutes of their respective ii chords, which allow for the chromatic progression. If you think of it this way, you won't limit yourself to chord tones. Try just playing the chords like this: Em-A7, Dm-G7, you can see that in these ii-V progressions, the V chord has been replaced by a dominant 7th chord a tritone away. @aussieninja10 you do make a good point however, as soloing using the chord tones picks out the altered notes nicely.

[BarryMClark]

@TheVergile I would still keep it in G maj only with B7 as a secondary dominant as a 'five of the six'. Saying exactly the same thing you are just keeping in G.

[undryoasis]

This is great..more backing tracks for the standards pls

[qlm86ooe]

latin backing tracks on my tube

[qlm86ooe]

i have some backings check out my tube

[1TomMetal1]

great backing track dude!

thanks :D

[spike4379]

best backing track thanks mate

[kinesballen]

Love this song, thx for the upload ;D

[gumbooze]

is ther any other scales dat i can play..

fer now i cud onli play it in dorian n pentatonic...any suggestion??..

[Sunderlanding]

Well you can play Eb melodic minor over the D7chord and C melodic minor over the B7 chord. That's a good place to start messing around, but you can also start by playing G lydian (D Major) over the G Maj7 chord.

[thejazzman8]

locrian

[senathome]

I fuckin shower in that shit

[Jowind]

nice.

[SRV11111]

thx for posting