Playing over Sunny by Bobby Hebb

[Andre Moreira]

Hi,

I'm trying to solo over the Sunny by Bobby Hebb.

Anyone can help me out, how to start playing some basic jazz notes over this song ?

I saw a lot of videos from youtube, both they are too much for me, I just one to know which notes I can or cannot play over each chord.

Best regards.

[Andre Moreira]

This is the chords that I use in this song...

I Am7 I Gm7 C7 I Fmaj7(9) I Bm7 E7 I
I Am7 I Gm7 C7 I Fmaj7(9) I Bm7 E7 I

I Am7 I Gm7 C7 I Fmaj7(9) I Bbmaj7 I





I Bb5m7 I E7#9 I Am7 I Am7 I


But I really do not know which scales(notes) I should play over each chord.
I already tried some scales(notes), the sound I get is not jazzy enough, If I can have an expert opinion on this it would be much better for me.

[ksjazzguitar]

For the Am7, A Dorian is a good choice. A Natural Minor works too but I think that it sounds less "jazzy."

For the Gm7-C7-FM7-(BbMaj7), that is all in F Major for the F Major scale is a natural choice.

Bm7-E7 is a ii-V in A Major but it is resolving to an Am. So I would approach the Bm7 with A Major but switch to A Harm. Min for the E7, or E Altered. If I remember correctly, I usually played that Bm7 as a Bm7b5. Sounds better, doesn't conflict the melody, sounds jazzy, etc.

And that BbMaj7 you have I think I remember playing a Bb7(#11). A jazzier chord and it fits nicely. The scale for that would be Bb Lydian Dominant, the same as the F Major but with an Ab instead of an A.

But then I don't really advocate the "this scale goes over this chord" approach. It can be a good place to start but you also need to be aware of how the notes you are playing fit over the chords.

Peace,
Kevin

[Andre Moreira]

That's the answer I was looking for.

Thanks a lot! :-)

Regards

[backliner]

You can just blow in C through the whole thing to get started. G mixolydian, A minor pentatonic, etc.

I also like the George Russell shift on minor blues tunes like this (Lydian on the relative major tonic - C).

[M-ster]

I'm basically on board with what Kevin is telling you. So, now you have:

Am | Gm7 C7 | Fmaj7 | Bm7b5 E7 |

Am | Gm7 C7 | Fmaj7 | Bm7b5 E7 |

Am | C7 | Fmaj7 | Bb7 |

Bm7b5 | E7 | Am | Bm7b5 E7 :||

If you want to stay safest on the improvising, you'd start with Am pentatonic and add F natural into your scaler lines. So, now you're kind of playing A natural minor, but you're avoiding Bs and Bbs. With that approach, you're quite safe, except for the Bb7 (avoid the A natural).

As you get more comfortable with the progression, you can start adding to your harmonic choices. My first observation would be that all the E7s and the Bb7 can take F mel minor riffs.

Starting with A dorian takes you in an awkward direction, since so much of the harmony takes F naturals, rather than F#s. Likewise for backliner's Lydian Chromatic reference, for the same reason.

[musicalbodger]

You can just blow in C through the whole thing to get started. G mixolydian, A minor pentatonic, etc.

I also like the George Russell shift on minor blues tunes like this (Lydian on the relative major tonic - C).

Sorry, but isn't that (Lydian on the relative major tonic - C) just A dorian?

[Tom Karol]

Is Am the standard key for this song? I've always played it in Dm. Oh well.

I agree with M-ster's chords above, but I like to throw in an altered tension or 2 on most if not all of the E7's. And in the 3rd line I like to go (in Am):
Am AmM7 | Am7 Am6 | FM7 | Bb7 |

Kevin's #11 on that Bb7 is a nice touch, too. (I'm a sucker for anything Lydian these days.)

[backliner]

Sorry, but isn't that (Lydian on the relative major tonic - C) just A dorian?

Sure. Or B Phrygian; or D mixolydian; or...

[blackwingchai]

i would probly play this with A dorian.

[M-ster]

... I agree with M-ster's chords above, but I like to throw in an altered tension or 2 on most if not all of the E7's ...

Er, of course! That's what makes it jazz. The experienced players will add the color, chord extensions, and the like. All you need on the chart are the basic chords ...

You're probably going to play something like ...

A-7(9) | G-7(9) / C7(13)(b9) C7(b13)(#9) | Fmaj7(9) | B-7b5(11) E7alt | ...

right? But, look how cumbersome that is to read!

[Tom Karol]

...The experienced players will add the color, chord extensions, and the like. All you need on the chart are the basic chords ... but, look how cumbersome that is to read!

Good point! I do generally find lead sheets that denote very specific tensions/extensions annoying to read (e.g., E7b9b13). I'd rather just see an E7 (or E7alt) and modifiy it as I deem appropriate based on the harmonic context. Same goes for passing chords and substitutions unless they're an integral part of the song.

[Reg]

Great posts... all I can add are personal choices... One thing to think about is the harmonic rhythm of the tune... if we use terms... strong and week, strong being the harmonic areas that are consonant or what we feel as at rest... and weak as the dissonant or harmonic areas that want to resolve or move somewhere.
The form of the tune is A B, "A", 8 bars and "B", 8 bars, and the harmonic rhythm is Strong - Weak by bar pattern. So for example the first 4 bars have a strong- weak bar pattern. A-7(strong), G-7 C7(weak), Fmaj7(strong), B-7b5 E7#9(weak). and repeat. The "B" section is similar... can be thought of as;
A-7(s), C7(w), Fmaj7(s), Bb7(w), B-7(s), E7(w), A-7(s), E7#9(w).
So when you solo... you usually reflect the S-W pattern in your improvisations. What ever you choose to play on the weak bars should resolve to the strong bars. When you simply blow through the changes with common harmonic areas,(scales), you may lose the feel or harmonic rhythm. All this is for general concept or shape of solo. You can also think of longer or larger S - W patterns, play 1st four bars as strong, ( your choice of notes would stay fairly consonant) and the 2nd 4 bars,(5-8) would create dissonance and then resolve to bridge. Once you establish the pattern,(feel) you can break the pattern, but keep on a larger scale the S-W going... Play one 1x through the the tune straight or strong, 2x change pattern to create weak feel, whatever, play a repetitive melodic pattern like Martino use to do and build intensity and resolve on 3x through tune. This is just a general guide line for structuring your solo to help give it a balance that reflects the tune. The better your skills the more freedom you have to break the pattern and still have balance. This technique should also be reflected in your comping...Best Reg

[Andre Moreira]

Thank you guys!!! Great, great posts!

I've learned a lot here, and I'm very glad with your quick feedback.

I'm going to practice now!! :-)


Regards

[Larry Feldman]

I prefer to use a C Major scale over Am7, and avoid the F# note that is part of the Dorian scale. It doesn't seem to fit the song to have the F# in there. Then use an F Major scale for Gm7 to C7 FMaj7, then return to C Major for Bm7b5 to E7, adding a G# note in there because of the G# in the E7 chord. I really enjoyed the ideas people put out for this one, and I really dig this tune.

[Reg]

This is a cool version with Martino and Scofield, but the solo to check out is JoeyD's, I might have a gig with him next year at Yoshi's in spring, I hope it happens... best Reg

[musicalbodger]

This is a cool version with Martino and Scofield, but the solo to check out is JoeyD's, I might have a gig with him next year at Yoshi's in spring, I hope it happens... best Reg

I love the way JoeyD takes Martino's solo cliches and throws them right back at him. Very enjoyable.

Hope the gig at Yoshi's comes through . Woowee! JoeyD grooves so heavily. The spaces he leaves are almost orgasmic. I wish you all good luck for that one, Reg.