Lesson: Maj7b5 chords - A One size fits all chord/arpeggio

[JensL]

Blue note control system... OK, it's just four words used to describe a concept. Most are
at least aware of what blues notes are, at least with relationship to one Root. The
control system is just that, a system... an organized set of guidelines that uses blue
notes to help control the harmonic references, movement and relationships, just like
any modal tonal system ...

short version... blue notes derived from harmonic sources ....through modal interchange (MM as much as possible)

How many of you use pentatonics derived from MM... very blue note organizationally
friendly. (not rock blues etc)

Could you maybe demonstrate that or give an example somehow? I think I know what you mean but I am not really sure, maybe it's a language thing since English is not my first language...

Hey Jens... thanks... yes to your comments. I tend to hear your voicings through... use of
the diatonic III- chord becoming a Dom 7susb9.

Your playing of the arpeggio... (Cma7b5)...beginning with the major 7th... B C E F# sounds like B7susb9, which is one of the standard access Doors chords to modal relationships and Melodic Min.

I tend to use modal Interchange with a few levels of usage... Its not just borrowed
chords, it's the options for relationship from the borrowed chord as reference.

It's all BS when we talk about it, but it can open doors and ears for playing jazz.

Yes I see it as the Phrygian Chord or 7b9sus4 sound too. I actually had an example for it but did not have time to put it in the video so I left it out of the lesson altogether...

So if I am understanding you right you are seeing(hearing in fact..) that the Cmaj7b5 is a voicing that you play as a F#m7b5, but because the Cmaj7b5 sounds very "melodic minor" you then play melodic minor at that point in the progression? Sort of letting the voicing have a life of it's own and choose the sound or scale that you play from that not from what is going on in the rest of the harmony.

I tend to do a similar thing with especially augmented stuff so that I can fit the whole tone scale, augmented scales over mMaj7 chords, I sort of let a part of the chord decide the scale regardless of what is in the rest of the chord.

That's not what I read about modal interchange (not that that matters too much....)

Thanks for getting in to all of this. I think it's very interesting to talk about even if it is all theory...

Jens

[JensL]

Here's a video where I talk about letting the upperstructure lead a life of it's own at the end:

Jens

[Reg]

My sentiments entirely.

Hey Jon,
maybe you could explain those sentiments with an example of what your talking about, maybe even play something.

Or I could just say ...I don't understand why someone wouldn't ... Sorry just couldn't let those comment get by.
its all good, talk is cheap.

[Reg]

Hey Jens... The use of blue notes as guidelines or the penatonic thing.

you understand how you use your voicing maj7b5 as access or method of access to different chord structures with different functions, different types of movement. Blue notes can have same function or be same method of creating different chord structures using a collection of notes or just one note. At least that's one method.

If you think of modal concepts... What note(s) create the guidelines of function, define chordal movement, not just maj/min functional harmony, other modal tonalitys. (I know... We're into science fiction).

Anyway blue notes don't have to be random chromatics, they can have organization and harmonic source.....
I'll try and post something.

There are more levels of understanding and usage of modal understanding than basic traditional Borrowing etc...

[JensL]

Hey Jens... The use of blue notes as guidelines or the penatonic thing.

you understand how you use your voicing maj7b5 as access or method of access to different chord structures with different functions, different types of movement. Blue notes can have same function or be same method of creating different chord structures using a collection of notes or just one note. At least that's one method.

If you think of modal concepts... What note(s) create the guidelines of function, define chordal movement, not just maj/min functional harmony, other modal tonalitys. (I know... We're into science fiction).

Anyway blue notes don't have to be random chromatics, they can have organization and harmonic source.....
I'll try and post something.

There are more levels of understanding and usage of modal understanding than basic traditional Borrowing etc...

Cool! I curious of the post. This is not too clear to me, yet. I don't mind the science fiction, I am used to creating 7 and 8 note synthetic scales for chords and mess with them like that, even if it is not something I pull out on every blues in F I play

I am curious of a set of blue note and how you organize them.

Jens