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Jimmy Katz
Dave Stryker
Sub Improv” that I’ve written over a progression of well-known bebop
changes using the Minor Sub approach to improvisation. On the bridge, my
solo follows the chord substitutions that Miles Davis came up with when he
performed his version of the popular jazz standard.
Play my written solo on your instrument until you start to hear how
the harmony fits the chord changes. Notice how I start the C minor line
from Example 1 on the first chord/first measure F9, but finish it by moving
it up a half-step (Db minor) on the second measure when the chord
moves up to Gb9.
In the second eight bars of the AABA form, I employ the same idea,
only using the first measure of Example 3.
On the bridge, I use Example 1 in D minor for the G13 chord and Eb
minor for the Ab13 chord. I continue with the Minor Sub approach for each
dominant chord in an ascending and descending pattern as the chords
move to two beats each on the last four bars of the bridge.
This approach helps to define the harmony as the chords move in halfsteps.
You can also use the F blues scale on the first 16 measures if you want
to open it up in that way. Mixing these two approaches will help you create
a more interesting solo.
Good luck, and remember: The best way to learn is by listening to and
transcribing the masters. DB
GUITARIST DAVE STRYKER’S 22ND CD AS A LEADER, BLUE STRIKE, WILL BE OUT IN NOVEM-
BER ON THE STEEPLECHASE LABEL. STRYKER ALSO RECORDS AND HAS A LONG-RUNNING
GROUP WITH SAxOPHONIST STEVE SLAGLE CALLED THE STRYKER/SLAGLE BAND, WHOSE
LATEST CD IS CALLED KEEPER. ON THE NEW YORK SCENE SINCE THE 1980S, STRYKER
GOT HIS START WORKING WITH JACK MCDUFF AND STANLEY TURRENTINE. HE CURRENTLY
TEACHES AT JAMEy AEBERSOlD’S SUMMER JAZZ WORkSHOP, THE liTCHFiElD JAZZ
CAMP AND THE CALI SCHOOL OF THE ARTS AT MONTCLAIR STATE UNIVERSITY. MUSICAL
ExAMPLES 1–3 ARE ExCERPTED FROM DAVE STRyKER’S JAzz GUITAR IMPROVISATION
METHOD (MEL BAY). STRYKER’S CDS AND INFO CAN BE FOUND AT DAVESTRYKER.COM.
JULY 2011 DOWNBEAT 69