Comments on: Blue Bossa Chord Progression

By: jhonathan

jhonathan — Tue, 15 Jun 2010 23:33:28 +0000

what is G7alt (alt)?

By: ANTONIO

ANTONIO — Mon, 05 Apr 2010 02:48:50 +0000

Remember something, if u really wanna have control over your notes, first you must realize which intervals fit your interests at which part of the rythm in a measure, as for myself i really like falling on Roots or 5ths, sometimes 7ths, but not 3rds so much.

Now what u want is a solid state background of what scale to play over that D half diminished, G altered chord. Well, remember Locrian mode (vii of I/ ii of i) is the Half diminished one for diatonic scale (R,b2,b3,4,b5,b6,b7) and the Altered Scale that u should play with the same root as the altered dominant chord (R,b2,#2,3,b5,b6,b7) or for a mellower feel the lydian dominant scale which is a diatonic lydian mode with the maj7th switched for a b7. REMEMBER THE POWER OF THE TRITONE!!!

By: richard

richard — Sat, 14 Nov 2009 04:04:29 +0000

what i mean is that the harmony dictates the tunes name

By: richard

richard — Sat, 14 Nov 2009 03:57:45 +0000

blue bossa like it says’wow

By: Steve

Steve — Mon, 26 Oct 2009 03:29:31 +0000

I have a nice Band in a Version that uses these chords Cm7 | Cm7 | Fm7 | Fm7 | Dm7b5 | G7alt | Cm11 | Cm9 | Ebm9 | Ab7 | DbM7 | DbM7 | Dm7b5 | G7alt | Cm7 | Dm7b5 G7alt | end on Cm9

By: Jack J.

Jack J. — Sun, 25 Oct 2009 13:39:01 +0000

Very much so, thank you. The arrangment I made is at 190 bpm so switching modes for that half of a bar is tricky… only needing to sharp the 7th should really help. Thanks again.

By: Owain

Owain — Sun, 25 Oct 2009 13:15:47 +0000

Hi Jack. I came from a shred type background so I totally understand what you mean. It is easy to get stuck into playing just one scale of large portions of a progression when coming from a rock background.

There is no right or wrong way to do anything in music but to sound more authentic I recommend targeting at least the most obvious chord changes. Even using the basic arpeggios over some of the key chord changes will help you sound more “jazz”.

The most important part of this song is the Dm7b5 G7 alt part. If you just play C natural minor of all of it but then perhaps play C harmonic minor over the Dm7b5 G7 bit you will sound a bit more melodic. Hope that helps. Mix up a combination of C harmonic minor and C natural minor.

By: Jack J.

Jack J. — Sun, 25 Oct 2009 13:00:35 +0000

I’m currently practicing B. Bossa for an applied jazz recital. I’m trying to solo with c dorian, F Mixolydian, and c harmonic minor. I have been a ’shredder/wanker’ call it what u will for 8 years, primarily focusing on Major and minor scales. I would LIKE to do one of my improv verses relative to MY style by going natural c minor all over it… Is this a No-no in jazz? I ask because I know that the natural C minor scale won’t bring in a nice leading tone over a II chord.