Robben Ford/Larry Carlton on static minor chords

[brwnhornet59]

I agree with what Tag said about hearing the b6 of a vi chord, (or a III chord), as being the b9 of a V chord sub, III7,(or a vii7). Lets not forget about my old friend harmonic minor. In this case playing D harmonic minor sets you up for phrygian dominant, in this case A7 alt, (b6 b9). Great stuff!

[wolflen]

Great breakdown. But i think the G7 would be spelled, 11 13 R b3.

Or did i look at this wrong?

good catch...your correct..my bad...thanks

wolf

[wolflen]

Hi again.

Thanks for your quick replys! But I must admit, I´m a bit confused.

Wolf, you say G7, Bb7, Db7 and E7 - play the melodic minor scale a half step higher from each chord; that means Ab-, B-, D-, and F melodic minor.

From where do you get these chords?

The diminished scale (half-whole), is that supposed to be played from the tone d (we talk Dm7)?

The whole tone scale played from d as well?

As you can see, I´m still searching for answers! It´s not that I don´t know anytihing about theory, I just want it to "fitt logical" in my brain!

Regards from Kim

in a post above by Tag (nice post tag!) ...expands my post and may explain this type of thinking a bit better for you..

this type of approach takes alot of experimentation to get under your fingers and feel comfortable with...i would create a backing track with Dmi7 as the harmonic base...and run some of these ideas over it...some of it may click right away..some may take time for your "ear to hear" it..making a whole tone scale fit in a nice melodic line may take some work but if its placed in between some basic Dmi7 chord tone sequences you should get some ideas that work...same with the diminished 7 (7b9) chords..

the melodic minor is just another approach to use over static harmony..you can just play in a pure scale form..mix it up with some melodic patterns based on its own scale..play it in thirds..decending from the 6th then play in thirds etc..mirror these patterns on different string sets..

there are lots of examples of using symmetric harmony in jazz/fusion applications online and in print..explore...

for me..having another guitarist to work with and trade ideas while you hold chords for each other and hear how the solos develope and share your discoveries..doing this for several weeks will increase your ability and confidence by a wide margin..

hope this helps

wolf

[kimx0355]

If it helps? It´s fantastic!!! It´s like having a teacher online! Now it´s time for practise! The art now must be to implement it into my playing, so it sounds fresh and natural, and really not overdo it.
Thanks again guys, and play well!
Kim

[resmoore]

Wow! This is easily one of the best threads on jazz/fusion improvisation that I've read! Kudos to all involved and thanks for sharing so much good information!

-Bob

[fanmuzyk]

BTW - Do you now some sources, when I can find chords ( tabs, sheet music, notes etc.) of Larry Carlton's "Buranble"?

[Flyin' Brian]

BTW - Do you now some sources, when I can find chords ( tabs, sheet music, notes etc.) of Larry Carlton's "Buranble"?

https://play.riffstation.com/?v=Lwt9eKDxbbM

burnable larry carlton blues backing track

[Thumpalumpacus]

Many times I hear the flatted 6th in aeolian as the flat 9 of the V Chord. (In this case A7) so I will play A7b9 back into the D minor [...]

Sitting in front of my laptop, guitar in hand, never having considered this approach -- love it, it feels so natural. Thanks!

[fanmuzyk]

Thnx so much!

[RyanM]

Watch this lesson/interview with Ford, it's one of his better ones. There's a part about static chord vamps where he says he just plays V to i lines. (After the interviewer prods it out of him; at first he tries to say that he just plays the major scale, ha!)

You also get to here him improvise a bit over Just the Two of Us, nice hearing play something other than blues for a change.