Melodic use of chord tones?

[Jeremy Hillary Boob Ph.D]

The nice thing about chord-scale theory is that is is trying to get away from the chord symbols meaning a very specific chord... I read through the piano transcriptions of Bill Evans's solo on several tunes. He'd play the same left hand voicing on tunes that said Bb7, Bb9, Bb13, and Bb13+11. They were all Mixolydian (and Lydian Dominant on the +11) chords... It was b7 9 3 13... rootless and versatile. The right hand lines outlined all kinds of extensions from the same scale that were not included in the symbols in some cases. They are a launching point... but I think a Bb7 going to a minor (or modal interchange) needs a huge distinction from going to a major. The chord-scales are typically Mixolydian, Lydian Dom, or HW dim going to a major, and HM or ALT going to a minor (or modal interchange). This really simplifies things. Bb7b9, Bb7Alt, Bb7b13 all mean HM or MM, and Bb13, Bb13b9, and Bb7+11 mean the major kind... just things I observed in my piano hero... Hope that helps... a little OT...

[ksjazzguitar]

Originally Posted by Jeremy Hillary Boob Ph.D

The nice thing about chord-scale theory is that is is trying to get away from the chord symbols meaning a very specific chord...

Right, but those of us can still get away from "a very specific" chord. We can think about that other chord and build off those chord tones. I (personally) find the chord/scale approach to have fewer opportunities - it all just kind of sounds the same, depending on the scale you choose. Some of us just like getting back to thinking about the chord notes and playing the chord changes. Some of us got bored with the wishy-washy, pave over everything with a scale sound that everyone seems to like. If it works for you, go for it. As for me, when I finally got away from that, that's when things finally started coming together.

Peace,
Kevin

[mr. beaumont]

Originally Posted by Jeremy Hillary Boob Ph.D

The nice thing about chord-scale theory is that is is trying to get away from the chord symbols meaning a very specific chord...

I get what you're saying, but I don't think any good player takes the chord symbol in a chart as "law," And there's really no reason chord scale theory is any more liberating than any other approach in that situation.

I maintain there's no one correct approach, just approaches that make more sense in given situations--and if it makes sense to you personally, then it's the right choice.

[Kman]

Does anyone here know any really good examples of players who use chord tones in a melodic, horizontal, sense?

The melody of the song would probably be the best example of chord tone playing both in a rhythmic and melodic sence.