The Bb7 in bar 12 is functioning as a substitute for the E7 in bars 4,8, and 16. You can do F dorian, but another sound to check out would be thinking about it as a Bb7(#11). The E natural sounds great against that chord. You can also try playing a Gm7-C7 in bars 2, 6 and 10. G dorian sounds great over that measure!
+Mr.BananaPistol Depends on the kind of feel you want. Try the regular old C Maj scale, or C pentatonic. Or even better, use Cmaj7 arpeggios. Also the A natural minor scale (just changing the roots of the C Maj). Enjoy.
+Mr.BananaPistol *A-7 (i chord in the key of A minor) = A Aeolian C7 (this is a V chord in the key of Fmaj7, which can be preceded by the ii chord, Gm7) = C Mixolydian (or G Dorian) = D Aeolian Fmaj7 (Although this can be treated as I chord following the ii-V progression in the key of Fmaj7, it has a stronger relationship to the key of A minor as a VI chord) = F Lydian = A Aeolian *Bdim7 (iidim chord in the key of A minor) = B Locrian = A Aeolian *E7(b9) (V chord following iidim, in the key of A minor) = E Phrygian = A Aeolian @Alternatively, E7(b9) without the root (E) is Ddim7, which can be substituted with Bdim7, G#dim7, Fdim7 = Half-Whole Diminished / Whole-Half Diminished Bb7 = Bb Mixolydian = C Aeolian NOTES: 1) Chords labelled with * belong to the main ii-V-i progression in the key of A minor. 2) Gm7-C7-Fmaj7 are another ii-V-I progression in the key of Fmaj7 (though Fmaj7 is treated as VI chord in the key of A minor). 3) Bb7 can be treated as a tritone substitution of the E7(b9#11).
The interesting thing about this tune and its hamonies to me is, that you do *not* play within one scale the whole song. You have to use at least two scales, to cover all the chords. That would be A-dorian and Bb-Lydian (= F-Major) for me. But this dows not cover the E7 altered cord. ... So in short: There is not *one* Scale that fits for the entire song.
![Sunny (cover) Bobby Hebb-Tom Ibarra & Brunard Connexion-Festival Jazz Puces 2015 [HD]](http://i.ytimg.com/vi/1Y6tr1MWVso/mqdefault.jpg)
Gorgeous to play along to. Thank you.
Real qualitytrack.Superb.Thanks.
Great job there, this just sounds beautiful.
Best BT version👍
Awesome!!! My teacher for years
Thanx folks need this to learn
Woooow...I played like was in a Show...uhuuuuu
awesome backing track! where can I download it?
very nice track ..
How or where could I download this track? It's excellent!
Nine track :)
amazing
May i suggest a red clay backing track as well Please
+Ned Stark This remind me how well Sunny is quoted in Red Clay.
lol, just play the intro to red clay in A and then press play on this video: boom red clay backing track.
I used your Backing Track (very good) in my video. Thank you.
What can we use to improvise on this ? Are there some key changes or not ? Thanks
you could add an F dorian over the Bb7 on bar 12
The Bb7 in bar 12 is functioning as a substitute for the E7 in bars 4,8, and 16. You can do F dorian, but another sound to check out would be thinking about it as a Bb7(#11). The E natural sounds great against that chord. You can also try playing a Gm7-C7 in bars 2, 6 and 10. G dorian sounds great over that measure!
Great track to improvise o, thanks for sharing it !
Sunny
What scales can i use to improvise to this?
+Mr.BananaPistol Depends on the kind of feel you want. Try the regular old C Maj scale, or C pentatonic. Or even better, use Cmaj7 arpeggios. Also the A natural minor scale (just changing the roots of the C Maj). Enjoy.
+Mr.BananaPistol
*A-7 (i chord in the key of A minor) = A Aeolian
C7 (this is a V chord in the key of Fmaj7, which can be preceded by the ii chord, Gm7) = C Mixolydian (or G Dorian) = D Aeolian
Fmaj7 (Although this can be treated as I chord following the ii-V progression in the key of Fmaj7, it has a stronger relationship to the key of A minor as a VI chord) = F Lydian = A Aeolian
*Bdim7 (iidim chord in the key of A minor) = B Locrian = A Aeolian
*E7(b9) (V chord following iidim, in the key of A minor) = E Phrygian = A Aeolian
@Alternatively, E7(b9) without the root (E) is Ddim7, which can be substituted with Bdim7, G#dim7, Fdim7 = Half-Whole Diminished / Whole-Half Diminished
Bb7 = Bb Mixolydian = C Aeolian
NOTES:
1) Chords labelled with * belong to the main ii-V-i progression in the key of A minor.
2) Gm7-C7-Fmaj7 are another ii-V-I progression in the key of Fmaj7 (though Fmaj7 is treated as VI chord in the key of A minor).
3) Bb7 can be treated as a tritone substitution of the E7(b9#11).
Just play what you feel.
Hoc Weng such a detailed explnation, thank you!
The interesting thing about this tune and its hamonies to me is, that you do *not* play within one scale the whole song.
You have to use at least two scales, to cover all the chords. That would be A-dorian and Bb-Lydian (= F-Major) for me. But this dows not cover the E7 altered cord. ... So in short: There is not *one* Scale that fits for the entire song.
this is fun to play - thanx - so flowing...
This is a really good backing track. Thanks for uploading!
Офигенный минус, просто бомба!
Très agrèable à jouer , Merci !!
Hi pi ja jej , aleluja
At a reasonnable pace.
bravo!
Instead of the a min 7, c7 in the middle 8, you could have a min 7, a min 7 (g# bass), a min 7 (g bass), f# min 7 (b5)
Very good backing track!!! Inspiring!!