Body and Soul Analysis

[Vladan]

I don't know if it's resolving, but I hang a lot on G D and B. And F#, but not so often. I made audio recording, rendering to video for YT, will upload ASAP.

[Vladan]

Here it is, noodling, but whatever ...

[jordanklemons]

Yeah, right on man! Thanks for sharing. I definitely do hear a lot of the GMaj triad being tonicized. You mentioned that you don't know if it's resolving. To me it's pretty clear you're going for that at times. Other times, you're going for other stuff. Which is cool too.

Ultimately, the point behind all the stuff I'm working on (and sharing in this thread) is to become completely free to hear and utilize all possibilities at will when playing...both as a soloist and a comping instrument.

And to get rid of the sensation of 'noodling' as you put it. By stripping everything down to a really simple foundation (the triad +1 extra tension note) for each given tonality...it almost makes it impossible to sound like we're noodling or running scales. We can mix and match the stuff as well. But it will always create really strong melodic integrity. Every note will count.

I do love the sound of leaving out the 'F' note. Even when I hear you resolving, it never sounds like a silly, pointless resolution to the generic root note. It always seems to be to a colorful resolution...which sounds really nice! And again, is a big part of why I'm doing what I'm doing.

The one thing I would say is that the F# seems to drastically change the tonality in my ear. Every time I heard you play it, it no longer sounded like you were in harmony with the FMaj7 or the Fmaj13#11,9. It just sounded like you were superimposing a dominant7 chord to create tension. There are multiple options that it could have been. Just a regular old Gb7 or Gb7#11 maybe? Or a C7b9b5?

Could have been cool to take more advantage of that note. I don't think I would ever choose to see that note as part of the original scale or the F chord itself. I would separate it out and think of it as something else being applied over the chord to create tension. That way we can give it its own life and sound. Like I might put it into a GbMaj triad and add a C note or something. That way it gives that note some melodic context and we can squeeze more juice out of that tension, which will make the resolution back to the chord even stronger.

But that's just what I would do because it doesn't sound in harmony with the chord. It sounds like a new tonality. It's possible your ear is just open to the sound of a b2/b9 over a major 7 chord though.

[Vladan]

I also hear F# as superimposed. My ear likes that superimposed sound. Within the line, coming after more "in" notes, it does not go too well, but in combination with b5(B) and 13(D) somehow I find it really pleasing, maybe because it forms kind of D, relative minor turned major. Also, since all this G major started from "twisting" the C major, I think I still have some of that C tonality in my ears, where F# is b5/#11 and D major is the 5th of the 5th.
Cool topic, thanks for sharing.