These are the changes from the arrangement of Spain I’m playing with a group. If you had to choose just one scale to play across all of this, what would you choose?

A second notational question (I’ll ask the piano player when I see him again) I’m interpreting all the G+ D+ etc as dominant chords with the fifth raised a half step. Agree or disagree?

I wouldn't. But Ab lydian will get you through most of it.

I probably wouldn't either, but if you play a few choruses it can be a nice change to have one steady sound. In that case I would use c-minor pentatonic actually (add the flat 5 every now and then).

The second question: yes that's usually what the + means. If you want to be very theoretical and pedagogical, I would add that most of the scale choices I would use there would make that a flat 6 instead of a sharp 5.

Another vote for "don't".

If you're struggling to navigate your way through the changes then one approach could be to get familiar with one scale per chord and practice wending your way through them as they come along.

This tool is great: https://scalematcher.adamspiers.org/

E.g. for AbMaj7:

<LINK_TEXT text="https://scalematcher.adamspiers.org/sea ... es%5B%5D=6">https://scalematcher.adamspiers.org/search/search?root=Ab&mode=preset&chord=maj7&custom=&bass=&clef=treble&scales%5B%5D=0&scales%5B%5D=1&scales%5B%5D=2&scales%5B%5D=3&scales%5B%5D=4&scales%5B%5D=5&scales%5B%5D=6</LINK_TEXT>

I posed the question mostly because when I looked at the alterations and additions to each chord, there ended up being a lot of Eb and Ab pitches added to chords that didn't already have them. I wondered what players with better theory brains might see.

What I've been doing is playing more or less F minor in the first 8. Then I try to emphasize the voice leading starting with the ii-V-I through to the first ending. When I get that far I usually don't have to think very much anymore and can spend the second time developing a motif.

Another question is that during an arranging course I took the prof mentioned that if a dominant chord includes a b9 then playing/writing a #9 is on, and similarly a raised or flatted fifth opens the door to using the opposite alteration. Are these things true to your ears? With these particular changes, would that mean there are only one or two pitches that would grind on any particular chord?

I've come to the conclusion that thinking vertically, i.e. which notes can I play against this chord right here, then which notes can I play against that chord there, is very limiting. And leads to not very interesting lines.

You can play the worst possible note against a chord, e.g. an A natural against Abmaj7, but it's what you do with it that counts. If the next note is a resolution to a Bb in the same chord, then all of a sudden that Anat sounds good. If the line is strong enough, it's good enough.

If I was looking to build a solo around a static, small, set of notes, adjusting them as little as possible through the sequence, then my first inclination would be to work with a descending triad of F-C-G. You can work around that, invert it, shift one of the pitches up or down a semitone as needed, change up the ryhthms, the order, have all sorts of fun, but still with that one "cell".

This example mostly alternates between the tonic harmony, C-minor (Eb-major) and the subdominant, F-minor (Ab-major), together with their respective dominants—with one exception: the five-of-five in measures 105-106. It’s a good example for showing the use of eight-note “complementary scales”.

For example, for C-minor (Eb-major), the first original 8-note scale is:

1(ORIG): C D Eb F G Ab Bb B (C)

where the (4-note) chord-tones are emphasized: Cm7—identical to Eb6.

The corresponding 8-note complementary scale is comprised of the same notes, but with the emphasis on the alternates:

1(COMP): B C D Eb F G Ab Bb (B)

The 4-note chord in this case is a diminished seventh—which acts as a five-chord in C-minor (G7) or a five-chord in Eb-major (Bb7)—both of which occur in the example.

The second 8-note (subdominant in this case) scale is:

2(ORIG): F G Ab Bb C Db Eb E (F)

where the (4-note) chord-tones are emphasized: Fm7—identical to Ab6.

The complementary scale is:

2(COMP): E F G Ab Bb C Db Eb (E)

This diminished seventh acts as a five-chord in F-minor (C7) or Ab-major (Eb7).

So the 1(ORIG) scale is used for the cadence points: Eb-major and C-minor.

The 1(COMP) is used for G7 and Bb7.

The 2(ORIG) for Ab-major and F-minor.

The 2(COMP) for C7.

The exception in measures 105–106 is an important emphasis point. A whole-tone scale on D would make a good contrast.

It's an interesting exercise to try to come up with a single scale that would fit over that entire chord progression, but like some of the others who posted above, I don't think that I would try to approach improvising over those changes with a single scale.

[quote="tbdana"]But Ab lydian will get you through most of it.[/quote]

Yes, although I would probably think C natural minor instead, simply because that's the key center of the tune. Regardless of what you're labeling those notes, this would get you through the tune without too many notes clashing against the changes.

mm. 97-104 is a ii-V-I-IV in Eb, you could easily get by with Eb major in that passage (same as Ab lydian/C natural minor). But once of the things I would try to do blowing over those changes would be to find the non-diatonic notes in the chords and try to emphasize them. For example, mm. 111-112 I would want to hit the E natural. B natural over mm. 107-108, etc.

[quote="mgladdish"]If you're struggling to navigate your way through the changes then one approach could be to get familiar with one scale per chord and practice wending your way through them as they come along.[/quote]

And once you have gotten comfortable that way try getting comfortable with the patterns of chord changes. For example, the ii-V-I-IV in Eb I mentioned above. There are some specific guide tones in those changes (e.g., 3rds and 7ths of the chords) that you might want to emphasize. So practicing moving between F-7 to Bb7, back and forth, will help set you up for negotiating that section better than simply practicing those chords in isolation.

[quote="VJOFan"]Another question is that during an arranging course I took the prof mentioned that if a dominant chord includes a b9 then playing/writing a #9 is on, and similarly a raised or flatted fifth opens the door to using the opposite alteration. Are these things true to your ears? With these particular changes, would that mean there are only one or two pitches that would grind on any particular chord?[/quote]

I think of any altered dominant 7th chords as functionally the same. You can raise or lower the 5th and 9th of a dominant 7th chord (or any combination of those) and while the color of the chord will be slightly different, the chord will still function the same in the progression. In fact, it's a cool sound for a soloist to play an altered 7th chord when the rhythm section plays a "normal" 7th chord (depending on the tune, style, context, etc.). Good rhythm sections will follow a soloist in this way.

Another approach is to play the tritone substitution of the dominant 7th chord, which essentially functions the same as an altered dominant 7th chord if the rhythm section is sticking to the written changes. For example, in mm. 107-108 you can play a Db7 chord/Db Mixolydian. You still have the 3rd and 7th of the G chord present, plus some additional color tones that amount to the raised and lowered 5th and 9th of the G chord.

Dave

I just keep coming back to "don't." I get the appeal of looking for a single scale to play off of. But that's also a single color in a tune that changes colors. It's going to be boring at best, and just plain bad at worst.

I'm guessing this desire is a function of not knowing how to play jazz, but wanting to make it through the solo "well enough"? Otherwise, what would be the point in wanting to play a single scale over the whole tune? The strength of a solo lies in its ability to create a beautiful picture that tells a story. And to do that, you need as many colors to paint with as you can muster. And you want to use just one color? Why?

Concerning those altered dominant chords: yes everything everyone has said. But I have a caveat: if you're playing your chorus with pre-written backgrounds in the horns where they can't "on-the-fly" change the alterations as you solo, I think it's a good idea to pay more attention to the specific chord markings until you get enough reps with that specific arrangement to get a sense of how the pre-built background voicings work.

[quote="tbdana"]I just keep coming back to "don't." I get the appeal of looking for a single scale to play off of. But that's also a single color in a tune that changes colors. It's going to be boring at best, and just plain bad at worst.

I'm guessing this desire is a function of not knowing how to play jazz, but wanting to make it through the solo "well enough"? Otherwise, what would be the point in wanting to play a single scale over the whole tune? The strength of a solo lies in its ability to create a beautiful picture that tells a story. And to do that, you need as many colors to paint with as you can muster. And you want to use just one color? Why?[/quote]
A little higher up, I mentioned this is more of an intellectual exercise. I am appreciative of you and other good brains sharing their takes. Im at the stage where a little knowledge (skill) is a dangerous thing. I asked a stupid question and gained a lot of new insights.

I fooled around enough that I have some guide tones now. There is no “video” on the video. I just tossed my phone on an armchair. I’m playing in my practice mute to the accompaniment of the jackhammer demoing my front porch. <YOUTUBE id="M6rb_nFKvJI"><LINK_TEXT text="https://youtube.com/shorts/M6rb_nFKvJI? ... GXsz8qPNZk">https://youtube.com/shorts/M6rb_nFKvJI?si=j950wFGXsz8qPNZk</LINK_TEXT></YOUTUBE>

[quote="AndrewMeronek"]Concerning those altered dominant chords: yes everything everyone has said. But I have a caveat: if you're playing your chorus with pre-written backgrounds in the horns where they can't "on-the-fly" change the alterations as you solo, I think it's a good idea to pay more attention to the specific chord markings until you get enough reps with that specific arrangement to get a sense of how the pre-built background voicings work.[/quote]

You're not entirely wrong, but that's one of the cool things about altered dominant chords - you can play any alteration to the 5th or 9th and the integrity of the function of the chord won't change. And the sound of, for example, a b9 over a #9 chord still sounds cool, provide it's played with solid time.

[quote="tbdana"]I just keep coming back to "don't." I get the appeal of looking for a single scale to play off of. But that's also a single color in a tune that changes colors. It's going to be boring at best, and just plain bad at worst.[/quote]

Yes, I tend to agree.

However, as practice material it's just fine. The color of a single scale over some set changes does get boring if it's the only approach used, but in the context of a larger solo that might be a color that helps to develop tension and release.

I approach teaching and practicing improvisation borrowing heavily from books that Hal Crook wrote (Ready, Aim, Improvise is one). His basic approach is to focus on one technique at a time, practice with the general idea and specific exercises designed to challenge your abilities to play within that technique, and then to forget about it and jam. The idea is that you work hard to be as musical as possible within the constraints of the exercises so that when you're freed up to do whatever that you have command to play what you feel (and feel things that you might not have considered before practicing in this way).

[quote="VJOFan"]I fooled around enough that I have some guide tones now. There is no “video” on the video. I just tossed my phone on an armchair. I’m playing in my practice mute to the accompaniment of the jackhammer demoing my front porch.[/quote]

Sounding good. I was going to comment that without an actual accompaniment track to hear you play along with it was difficult to feel the groove. But I won't mention that because I put together my own demo and I have the same complaint from my time feel when I go back to listen to it.

Here's a [url=https://wilktone.com/wp-content/uploads/2025/11/Spain-Demo-tbn-only.mp3]track of just me blowing over 4 choruses of Spain. The first chorus I limited myself to the C natural minor scale. I did the same on the second chorus, but tried to go for it more. The 3rd and 4th chorus I started playing the changes instead. Sorry for the clams and out of time phrases, but you might get the idea of the different "colors" you get between blanketing a scale and playing the changes.

Here's a [url=https://wilktone.com/wp-content/uploads/2025/11/Spain-Demo.mp3]track with the accompaniment, so you can hear exactly how far off the time I sometimes get.

Here's [url=https://wilktone.com/wp-content/uploads/2025/11/Spain-Accompaniment.mp3]just the accompaniment track, for anyone who wants to practice this solo.

Dave

Thinking about the question about whether or not to blanket the entire solo section around one scale got me thinking - what did the composer write for the melody there?



This lead sheet is down a 1/2 step (B minor) from the big band chart posted above. The key signature (one sharp) is only posted on the first system, so understand that F# is in the key signature.

Looking purely at the melody line above, the only note that isn't diatonic to the B natural (aeolian) minor scale is the A# mm. 5-7.

So it is possible to create interesting melodies over chord changes that largely utilize a single scale.

Dave

Thanks sincerely for all the insights. And especially for your generosity Dave. The show is tomorrow night. It’s a last minute sub situation with the one rehearsal last week. The solo came with the chair and I appreciate the coaching provided in this thread. If I could go back in time I’d defer, but saying okay has lit a new fire for working at this again- it’s been a while since I focussed on improv. There is enough here to direct some serious practice for a few years.