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Is the OP still around?
What Miles did (or even Wayne on his Adam's Apple record) isn't really copyable so we won't go that route. Just apply some logic to it.
- The usual t/a in Cm would be Ab7 - G7alt (or the RB version D7 - Db7). So in Dm that would be Bb7 - A7alt (or E7 - Eb7alt).
- I'd play that as F mel (Bb lyd dom) - Bb mel (A7alt) (or B mel (E7 lyd dom) - E mel (Eb7alt)).
It all works over the F#m7b5 chords. And the scales also can be mixed and matched. But probably sticking to one or two options is less confusing. Also, having only two scales to use is much easier that trying to do something over every chord in that section.
Basically I'm using C dorian (Bb maj) for the Cm7 and F dorian (Eb maj) for the Fm7. With passing notes and some blues for colour.
Here are 4 versions. The t/a scales are:
1. F mel - Bb mel
2. B mel - E mel
3. F mel - E mel
4. B mel - Bb mel
Last edited by ragman1; 04-27-2024 at 11:52 PM.
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04-17-2024 07:44 AM
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Wayne's composing seems to me to emphasise chord colours and voice leading. The melody of the turnaround ends on an F, but the harmony is a quartal C minor thing.
Originally Posted by ragman1
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Oh, don't be tho therwiuth
Of course, I'm not saying you're wrong...
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That makes sense to me. xx3343 and xx5565 are both Cm quartal grips.
Originally Posted by BigDaddyLoveHandles
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Voicing is definitely important. Play some common grips for these chords, you might say "what?" Put the melody on top, and it's like "you open the door, the light goes on!"
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100%
Originally Posted by mr. beaumont
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