I VI II V turnaround in the blues....

[kirk95]

How do you navigate? Looking for some new ideas and sources for lines...

[Reg]

Think of different "chord patterns" for each chord, which will give you unlimited harmonic choices. Another choice is to simply use Modal Interchange and the different harmonic implications from different choices. You can always use actual Modal implications. I dig Sub of Sub approaches which open up the blue note doors, if you like actual system or methodology of harmonic source and control... rather than simply adding blue notes randomly by trial and error. There was a grad student who used to call this scheme... si-fi something... he had a very ????? musical vocabulary... anyway that should get you started ... I can add more after you get through those...Reg

[pingu]

Originally Posted by kirk95

How do you navigate? Looking for some new ideas and sources for lines...

do you know

I 13 , bIII13 (sub of vi) , bVImaj7 (sub of ii) , bII 13 (sub of V)

s'noish innit ?

oops edited it now its pretty
sorry

[BigDaddyLoveHandles]

Originally Posted by pingu

do you know

I 13 , bIII13 (sub of vi) , bVI#9 (sub of ii) , bII 13 (sub of V)

Yowzah! That's more subs than the Canadian navy!

[JakeAcci]

I think a nice place to start is to build off guide tones and common tones

For example, over C7 to A7 you have a C rising to a C#, an E common to both, a G common to both

over A7 to Dm7 you have an A common to both, a C# falling to C natural or rising to D, an E rising to F, a G falling to F or rising to A

These are just examples. Good stuff, imo, to look at in the whole progression, and then other progressions and tunes and then, well, all tunes.

[pingu]

Originally Posted by BigDaddyLoveHandles

Yowzah! That's more subs than the Canadian navy!

what about secret subs ?
i guess we'll never know