Interesting II V I

**kris** · 11-17-2013, 06:11 AM

Very nice George Benson 251.
I' ve transposed it to key of C.
Can be easy play in different keys.
From All The Things You Are-" Live at Casa Caribe" GB Quartet CD.

**bako** · 11-17-2013, 09:52 AM

Apart from being a nice line, the interesting part is what I view
as a time extended V7 chord or delayed I chord resolution.

**kris** · 11-17-2013, 10:58 AM

I have to record this nice line later today...:-)

**kris** · 11-17-2013, 01:22 PM

I've attached another Benson's intersting 251 in first post.
It is a great example how creative is GB...:-)
Similar fingerings as first but different place.

**MattC** · 11-17-2013, 07:02 PM

Nice line indeed. Thanks for posting. It seems one can get a lot out of chromatic 9ths and 13ths over dominant chords, and the intervalic relationships thereof.

**kris** · 11-18-2013, 06:45 AM

I/ve just recorded these 251 lines this morning.
Adopted to my style of playing...see first post!

**kris** · 11-20-2013, 05:23 AM

Another nice Benson's line over 251 progression.Attachment 9535

**M-ster** · 11-20-2013, 03:44 PM

You've spelled it enharmonically, but the consecutive E-7 and F#-7 arp's over the Cmaj7 made me laugh. Brilliant.

Benson can play anything and make it work.

**Stevebol** · 11-20-2013, 05:44 PM

Originally Posted by kris

Another nice Benson's line over 251 progression.Attachment 9535

The series of notes on the G7 will work if you start on F instead of Bb. It will also work on the second measure of CM7 if you start on Bb.

I got the G7 notes from Coltrane and use it a lot. Don't know where he got it.

Good stuff

Mmm...... hold on. That first measure is Coltrane too if I remember right. I try not to steal more than one measure at a time.

**kris** · 11-21-2013, 09:29 AM

Originally Posted by Stevebol

The series of notes on the G7 will work if you start on F instead of Bb. It will also work on the second measure of CM7 if you start on Bb.

I got the G7 notes from Coltrane and use it a lot. Don't know where he got it.

Good stuff

Mmm...... hold on. That first measure is Coltrane too if I remember right. I try not to steal more than one measure at a time.

over G7 is simply Ab melodic minor scale...

**Patriots2006** · 11-21-2013, 10:12 AM

Don't understand the C# on the second measure of CMAJ7. Any thoughts?

**Stevebol** · 11-21-2013, 10:55 AM

Originally Posted by kris

over G7 is simply Ab melodic minor scale...

That's how I think of it. Also, I think I heard Jimmy Ponder play a Eb melodic minor scale in the same place. Sounded cool.
It's easier for me to think of minor scale and half step away from G7 than to think Tritone. I don't use Tritone. If you play those notes on the 2nd measure of CM7 then I think C#7 (Db7?). That's half step away from C. I try to think chromatically.

That's just me. Anyway it a nice phrase. Very useful in different ways.

**Stevebol** · 11-21-2013, 11:01 AM

Originally Posted by Patriots2006

Don't understand the C# on the second measure of CMAJ7. Any thoughts?

I was experimenting with it. A C#7 lick after CM7 implies a passing chord. Half step away- chromatic. Same with thinking Ab minor over G7. It's a fine line between passing chords and chord subs.

Wish I was better at explaining this.

**Stevebol** · 11-21-2013, 11:10 AM

Originally Posted by Patriots2006

Don't understand the C# on the second measure of CMAJ7. Any thoughts?

It's chromatic movement. CM7-C#7-Dm7. C, C#, D. Something diminished will work between CM7 and Dm7 too. Would C#7 or C#dim be called passing chords? I forgot what they're called.

**kris** · 11-21-2013, 11:32 AM

Think like M-ster : E-7 and F#-7 arp's over the Cmaj7.
C# looks like passing tone going to C.

**kris** · 11-21-2013, 11:34 AM

Originally Posted by Patriots2006

Don't understand the C# on the second measure of CMAJ7. Any thoughts?

On the second measure of CMAJ7 is C.

**Stevebol** · 11-21-2013, 11:38 AM

Originally Posted by kris

Think like M-ster : E-7 and F#-7 arp's over the Cmaj7.
C# looks like passing tone going to C.

Yep. That too. There's a LOT going on in this phrase. Wouldn't Ab minor be a tri-tone away from Dm7? This could go on forever. Let's break it down!

**Stevebol** · 11-21-2013, 11:44 AM

Another thing that will work on the 2nd measure of CM7, throw in a Em7-A7 leading back to Dm7.

**Stevebol** · 11-21-2013, 12:21 PM

Originally Posted by M-ster

You've spelled it enharmonically, but the consecutive E-7 and F#-7 arp's over the Cmaj7 made me laugh. Brilliant.

Benson can play anything and make it work.

Can't wrap my head around that F#m7 arp. It's a tritone from C.

**mr. beaumont** · 11-21-2013, 02:08 PM

I guess it's not so far out, just that C#...but you can hear those other notes as "lead in's" and the line just becomes D, C#, C...which is fine...it's a great line.

**kris** · 11-21-2013, 03:28 PM

Attachment 9554
Very nice Scofield line over 251.

**bako** · 11-21-2013, 06:13 PM

Some possible explanations for a C# note in a C Major harmonic context:

1. Super imposing D major harmony over Cma7

Em7 F#m7 Gma7

Em7 and Gma7 create the color of Cma9#11

F#m7 is a viable passing chord between the two.

2. C# can be explained as part of A7 or C#dim pointing back to the IIm.

3. If the I chord is conceptualized as C dominant the Db/C# is b9

4. Dave Liebman in his chromaticism book spoke about the idea of a "disrupter" note.
A note or notes at the end of a line that points toward a simple resolution but either delays or eliminates it altogether.

5. Playing more linearly, freely following a melody where it leads as opposed to varying levels of expressive coloring by number approaches to addressing chord changes.

6. Then there is whatever George Benson was thinking. Of this I have no idea.