So the F# in the scale should not be emphasized but can still be used as a melodic approach tone to the note G (root of the Gmi7 chord). Recapping the things discussed in this article : Many of these choices are already made for you by the function of the chord, the key, and the context (preceding and following chords). The easiest way to improvise over this progression is to use a Bb Major scale since all of the chords are in the key of Bb Major! Similar to the first four measures, the easiest way to improvise over this progression is to use a G Harmonic Minor scale.
They distinguish themselves by their 3rd and 7th chord tones, which are unique for each chord. But the most prominent aspect of the melody can be defined with one single word :
Look how in the second stanza, for instance, we find autumn sitting on a granary floor, asleep on the furrow of a field, resting its head against a brook, or watching the cider-press squeeze the last few drops of juice from the apples. So try that out too on some songs you work on. Autumn Leaves is a great jazz standard that is an excellent example of a song that moves back and forth between a major key and it’s relative minor key.
But the 3rd and 4th bars change keys quickly! What remains the same however for all major scales is that Just a single note, the D#, but it provides a distinctly different mood. But Joseph Kosma is a lot smarter than you perhaps think. You need not sustain each and every guide tone. Again, emphasize chord tones and try to use digital patterns moving through the G Harmonic Minor scale. Listen to recordings by great artists, copy ideas that you like and incorporate them into your solo! If you have enjoyed this article and wish to learn more I suggest you consider my The illustration below tells the complete story. Improvisation over this section is easy, because it is the same as for the A section but in the This sharing of both essential chord tones in two dominant chords is such a close musical bond that in Jazz the The above progression need not start on the C chord of course, and it need not contain all chords of the scale. Some of these choices are a matter of fact as is indicated below:Cmi7 - II function should be a Dorian scale (Bb Major)When embarking on this more complex treatment, be sure to start at a slower tempo and try to emphasize the 3rds and 7ths of chords. Use the Major scale of the Ima7 chord over the II - V - I in a major key and use the Harmonic Minor scale of the Imi7 chord over the II - V - I in a minor key!The chord progression of the bridge (B section) is just the opposite of the A sections as follows:The first four measures are a II - V - I in G Minor and the second four measures are a II - V - I in Bb Major. Je vous ai choisi un standard de Jazz très connu pour l'analyse de grille, c'est Autumn leaves (ou les feuilles mortes) ici je ne vous ai pas mis le thème en partition, on analysera juste la grille harmonique des accords. Scribd è il più grande sito di social reading e publishing al mondo. So the same approach as was used in the A sections applies here but is reversed.The C section is mainly in G Minor but has more harmonic activity and some key changes: /AØ /D7b9 /Gmi7 C7 /Fmi7 Bb7 /Eb7 /AØ D7b9 /Gmi7 /Gmi7 /The first two and a half measures constitute a II - V - I in G Minor so the same approach used in the first 24 bars of the tune applies here. Having successfully worked out what is going on in the A section, the B section should pose no problem whatsoever.
You can find some ideas about digital patterns in my blog about the II - V - I progression.The second four measures can be analyzed as IIØ - V7b9 - Imi7 in G Minor. Just running through it at some places in a scale, broken chord or small step can be very effective. It includes all of the chord tones of the three chords with one exception: The Gmi7 has an F natural in it and the G Harmonic Minor scale has an F# in it. But in that case we move out of the E harmonic minor scale and into (usually) the E Dorian mode. So then you may want to change the scale choice with each chord. These chords are characteristic for the G major scale. This provides the wonderful wavelike motion of the melody, always remaining within the two set boundary pitches : C and the E below it. We can do the same operation in any other major scale, and the scale-tone chord combination will be different and unique to that scale. The last three measures may again use the G Harmonic Minor Scale.Up to this point, I have been recommending “bracketing” chords with a single scale to simplify the process because there are less different scale colors to navigate. The The E minor Major 7th chord is not a very appropriate chord to end on.The E minor triad is therefore used instead. The chord progression and melody of the C section are both different from the first A!The first eight measures of the tune comprise the following progression:The first four measures can be analyzed as IImi7 - V7 - Ima7 - IVma7 in Bb Major.
Autumn Leaves is usually played in mid tempo Swing style. Autumn Leaves is a great jazz standard that is an excellent example of a song that moves back and forth between a major key and it’s relative minor key. Originally written in the key of G Major (and it’s relative, E Minor), it is usually played in Bb Major (or G Minor). Returning to the G major scale-tone chords, it is not usual that you see these chords in simple ascending order (as shown above) in a chord progression.