AUTUMN LEAVES SOLO TAB by Eric Clapton @ Ultimate-Guitar.Com. The second solo is more advanced and takes more harmonic liberties. There is a lot of meat in these solos and I encourage you to work through it all at your own pace. Remember to click on the included lesson mp3 to hear the chords and melody in action. I hope you enjoy working on my arrangement of “Autumn Leaves.”.
About Autumn Leaves In this lesson I have chosen to work on Autumn Leaves in the key of G minor. You will find a few versions in the key of E minor since it is printed in that key in the old Realbook, but the most common key is G minor. The two main cadences in the song are II V I cadences, one to the major tonic (Bb) and one to the minor tonic (Gm). Driver fighter product key.
In this way you cover two of the most important harmonic movements in this key. Learning the song Besides knowing the arpeggios and the chords by heart you need to know the melody of the song you want to improvise on.
In the end the melody is more important because the harmony may vary from version to version but the melody will stay the same. In this lesson (and for copyright reasons) I can’t go over the melody, but if you want some hints on how to do this you could check out this Q&A video where I talk about that: The form of Autumn leaves is a bit uncommon for jazz since it is AAB where the B is 16 bars and the 8 bars. A good place to start is to just play the chords of the song.
In example 1 I have written out chord voicings for the song. In the example I am using the material that I went over in the lesson. Since a lot of the examples I am using are over the whole form I am playing them a bit fast in the video.
You can always go back and check or even play them at a slower speed if you have a place that is hard to follow. I ended up doing it like this because the video otherwise would be much too long.
The Arppegios I have written out the arpeggios in the 6th position of the neck. If you think in Bb major this is a very common Bb major scale position so you probably know it already. Example 2 has the arppegios of the different chords written out. If you count the chords you’ll see that we have 10 different chords.
Since the goal of this lesson is to improvise fluently with well connected melodies using the arpeggios, I have written out all the arpeggios around the 6th position. Shifting up and down the neck is going to make it much more difficult to play logical melodies and almost impossible to do some of the exercises. Practising the arpeggios First you should probably try to become familiar with the arpeggios in example 2 and then as fast as possible try to start using them on the song. Students often forget how important it is to practice using what you’ve learnt. Besides just practising each arpeggio it is a very good idea to work on playing the arpeggios in different patterns.
Playing them in groups of 3 or 4 notes, skipping notes etc are good ways to get more flexible with the arpeggio. You need the flexibility when you start improvising, and keep in mind that it is about flexibility and overview not about speed when working on this, so there’s no real need to play it fast. The first exercise is to just play through the song with the arpeggios from example 2 in a one octave version. This will not only help practising the arpeggios but also build your sense of the form of the song and help you hear the chords moving and when they change. I tried to take the highest octave available of each arpeggios because that is probably the register you’ll need the most when you solo so you might as well start by working on a good overview of that. Connecting the arpeggios The next exercise is a very good way to gain a strong overview of the arpeggios and chords.
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It is also helping you to develop your ability to think ahead. The idea is to start playing the arpeggios over the progression and then when ever the chord changes to continue the movement with the note that is the closest in the next arpeggio. It’s quite tricky to get started with but very rewarding when you start getting the freedom while improvising. When you start this then you probably don’t need to work on the whole form in the beginning. In example 4 I have written out the example I play in the video in rubato. In the video you can hear me pointing out whenever I change. Putting it all together in improvising As I demonstrate in the video the thinking behind making harmony clear in a solo line is to target certain notes of the strong beats (in this case the 1).
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