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All I was thinking is that if the progression is C7 A7 D7 G7 C, would you want to think about C7 (bearing in mind that Em7b5 is a rootless C9) to A7 being a II V in D? And then think of A7 to D7...
Oh, I see what you mean now, thanks. Yes, the hammer-nail saying is very true, painfully.
Youre playing 16ths at 320? Mr Holdsworth? Is that you?
Sure I guess so. C7 is a fine sub for Em7b5 and vice versa, but you can make anything a ii-V if you think hard enough. To a hammer, every problem is a nail. Just seems like in the key of C, I’d...
Oh I should do that, then I can give them the “in jazz, we play in all 12 keys” bit.
A horn player once asked me if I couldn't provide a little more "low end" in Eb. This was before Boss invented the polyphonic OC3 octave pedal. He didn't ask me again.
I can see all of this. Thanks! Do you refer to this? I see G7 = Bm7b5, C7 = Em7b5. In fact, for half-diminished, I've been practicing a specific piano voicing that has 1, b5, b7, 11, no...
Have you posted this because you like Dm7 Fm6 C A7 Dm7 G7 better than what I wrote? I'd like to learn why. I only chose Bb7 over Fm looking at the melody and Em7 over C to get a II-V. My knowledge is...
OK, I understood the OP was asking about parallels between improvisation and speech in general. When talking, I do tend to "jam" in the same way I improvise over an unfamiliar progression, so lots of...
It's definitely not a crutch. I used to play this exercise at 320bpm with a metronome, but because it falls on a different part of the four parts of the beat every time you finish the 59 notes, it's...
Just a Gigolo C7 Bb7 A7
Today, 03:40 PM in Theory