REQ: TrueFire Sheryl Bailey's Trading Solos: Bebop
About Sheryl Bailey's Trading Solos: Bebop
Interactive Video Jam Session with a Top TrueFire Artist
In Sheryl Bailey’s Bebop edition of Trading Solos, you’ll jam with Sheryl over five popular bebop progressions, in a variety of keys and feels. Sheryl kicks off the course sharing some of her tone tips to help you get a great sound. And then for each of the five progressions, Sheryl shows you a handful of moves and comping approaches. You’ll then take turns applying those ideas, trading solos, and comping for each other over the tracks.
”The best way to get become a better player is to play with others! That's where the real learning happens, but or many folks, finding good players to play with can be a challenge. I have an amazing rhythm section lined up for you with bassist MaryAnn McSweeney and drummer Jordan Young because it's important to play with great rhythm sections that groove! The next step is that I share a few of my favorite licks on these iconic chord progressions that I've chosen to share with you. With a solid palette of voicings, grooving comping rhythms and a few tasty vocabulary words, you're now ready to reach higher ground!”
For each of the five bebop progression jam tracks, Sheryl will show you a handful of licks and comping approaches that you can use. Then, you'll take turns applying those ideas, trading solos and comping for each other.
Track 1: Say What
”Say What is based on the modal jazz staple by Miles Davis, "So What". This is certainly an important situation to know how to navigate, a static, modal groove. How can you make the comping interesting from chorus to chorus? How can you develop hip melodic lines, that go beyond running scales? That's what I'm here to share with you! Keeping it simple is the key on this modal tune. I like to use "open sounding" voicings in 4ths to keep the harmony open for the soloist and creating an open vibe. Locking into the rhythmic pattern gives space for the bass and drums to fill in the spaces to make the groove deeper. As I move to the next couple choruses, I add more color to my voicings and let the bass player cover the roots. In the last chorus, I explore creating movement on the static harmony by making them into II-7 V7’s. The secret to making this simple chord progression sound slick is in the comping rhythms: Locking in with the rhythm section to really be a section, strong together to support the soloist. I'll start things off with a solo, and then it's your turn to take lead while I play rhythm. Listen for the comping techniques and soloing licks we talked about, and then try them out yourself. Don't forget to back me up while I'm soloing!”
Track 2: All Thumbs
”This G blues progression has some elements of the Wes Montgomery tune "The Thumb" - in particular, the chromatic descending dom7 turnaround in the last 2 bars of the progression. I hope you'll enjoy the series of variations on chord voicings and the iconic licks I share with you on this G blues. I know you'll find some new ideas that you can use in any blues situation! The first chorus is about locking in the rhythmic groove and laying down the basics! The next chorus is about adding a little color with adding some extensions to sweeten the voicings. The last time through I add some syncopation to make the barline more "elastic", and also take the roots away to let the bass player get to work! Also, some use of adding chromatic approach chords. Lick #1 is a reference to Wes' original melody, and a lick that I learned from this tune many moons ago - it still sounds great! Lick #2 focuses on the II-7 V7, using a symmetrical diminished lick on the D7, which equals D713b9 and Lick #3 outlines that quirky chromatic turnaround, voice leading the chord tones to clarify the harmony.”
Track 3: Do You Remember?
”This progression features the Lydian sound on the Gmaj7 and a nice combination of min II-V's and major II-V's. I share with you different levels of comping on this to develop the tune rhythmically and a few licks that I know you can use in many situations. This groove is called a rhumba, so I let the rhythm section establish the groove and take the opportunity to create a rich harmonic pattern to create a mysterious mood, but letting the chords ring out so the rhythm section can bubble up and generate the energy. In the 2nd chorus, I add some extensions and take the roots away, also adding some syncopation to generate more rhythmic tensions. The last time around is a study of "less is more" by just using the guide tones to comp with. Lick #1 creates the Lydian sound on Gmaj7 by using an A7 bebop scale in combination with the Gmaj7 arp. Lick #2 demonstrates the great art of motific development moving the same shape up a minor 3rd, playing the relative major over the minor. Lick #3 uses some chromatic below embellishments to outline a II V melody.”
Track 4: It's Time
”This progression is from the Gershwin favorite, "Summertime" and also was the basis for the Wes Montgomery tune "4 on 6". This for sure is a jam session staple! I share with you some common ways to comp and then some of my favorite extended 7th's to add depth and color, and of course, some rhythmic variety to get it cooking and swing harder! Included are some nice minor II V ideas, alt. dom7 licks, and a major II V idea. We start out with laying down the basics in terms of voicings and groove. It's important the establish the opening chorus with the fundamentals so we have a foundation to build upon. In the second chorus, we take away the roots in the bass to let it breathe and develop the vibe. I've shared some of my favorite voicings and syncopations. In the last pass, we get a little more aggressive with the rhythmic hits, but staying in the pocket so that it always grooves! Lick #1 deals with a minor II V: accenting the natural 6 on Amin7, and using a dim7 arp on the E7 to bring out the b9 sound. Lick #2 uses a Bbmin/ma7 arpeggio to nail down the altered dom7 sound on A7, that way the resolution to Dmin7 is more dramatic! Lick #3 uses a dim7 arp to clarify the Dmin7, then an Ab dim7 arp on G7 to creat a dom7b9. Lick #4 uses the relative major, Cmaj7 over Amin7 to create a min79 sound.”
Track 5: Sweet!
”What's a jam without a tasty minor key shuffle? Based on Stanley Turrentine's "Sugar", "Sweet" explores everything from basic jam chords to extended 7ths and shuffle pocket grooves, along with some bluesy riffs and a few extended Dom7 licks to hip-ify your cadences! This is classic shuffle groove, so laying it down and establishing the basic harmony is crucial in the first chorus. As I move to the next chorus, I add a little more color by adding extensions and share a few of my favorite voicings that create intrigue, also, the syncopation gets a little more aggressive, but always grooving with the bass and drums. I explore some voice leading that ties the harmony together and adds some interesting colors, but always holding that shuffle groove. Lick #1 is a bluesy lick that would make Stanley happy! Lick #2 uses an augmented arpeggio and taste of the whole tone scale to add 9 #11 and #5 to spice up the G7. Lick #3 uses a moveable shape: Fmin/maj7 arp over Dø7 (Dø79) up a minor 3rd to Abmin/maj7 over G7 (G7b9b13) - these types of licks are great for developing an idea in a solo.”
Sheryl will explain and demonstrate all of the key concepts and approaches along the way. You’ll get standard notation and tabs. Plus, Sheryl includes all of the backing tracks for you to work with on your own. In addition, you’ll be able to loop or slow down any of the videos so that you can work with the lessons at your own pace.
Grab your guitar and let’s trade solos with Sheryl Bailey!