The slow oscillation between chords II and I here means you can afford to be laid back in your soloing.
Both chords are derived from the G major scale, even when you add sevenths (the laid back feel can be enhanced by making both chords into seventh chords) so:
II 7 = A C E G
I maj7 = G B D Fsharp
and if there are four chord tones for each chord, out of a seven note major scale, then that means that you have more chance of playing a chord tome than not if you stick to the major scale!
- Explore the scale slowly and try to be melodic, rather than panicking and trying to fit as many notes in as possible. Go for a ‘floaty’ solo.
- Try and work around the sax lines that weave in and out of the solos – so leave lots of space
In contrast to the floaty A section, avoid 7ths and stick to the main triad notes for each chord (then fill the gaps between these) so:
G / D / G / E – A
E / B / E / C – Fsharp
C / G / C / C – D
(read this vertically as triads – or see accompanying photo which sets it out in notation).
Play along with the backing track
AABA (no saxes)
Solos over AABA (saxes play backing from now on)