Originally Posted by
christianm77
I wouldn't tend to use it for bop, just not really part of that sound world to my ears.
BTW I don't use your equivalences exactly on closer inspection. Is that from Jordan or something?
Emin = G maj = Bmin = C maj 7 # 11 = Db m7b5 = (!!) A7 (or A13)
I don't think that way, I would think:
F#m7b5 = Am7(6) = Cmaj7#11 = D7 = Ab7alt
From A dorian/melodic minor
A C E G (G#) B D F#
Then, the G zone is separate
C#m7b5 = Em7(6) = Gmaj7(#11) = A7 = Eb7alt
From E dorian/melodic minor
E G B D (D#) F# A C#
Notice that within this you can pick out triads. For example the A dorian example:
Am
C
Em
G
Bm
The thing that separates the two zones is the use of C as opposed to C#. This is a big deal for me, because 4-3 is what drives tonal cadences in the major key. C-B in the key of G major.
I'm at present much less interested in exploring superimposed triadic sounds as sounds in their own right than Jordan is. Which isn't to say I don't use some of the obvious triadic superpositions. I use them all the time. I just don't always care what they are called, or what kind of vertical harmony they create. I see that as a distraction from my current goals of developing better rhythmic and melodic freedom through the changes.
I would describe my playing as at present, harmonically quite boring. I'm looking for interest elsewhere.
In other words I see harmonic understanding as a means to an end ATM. The end is to play tunes with the same rhythmic freedom that I would play a modal vamp. These equivalences can go someway towards this. Here I am using them to create a path of least resistance if you like.
On the other hand you could take the same information and turn it around the other way, and come up with harmonic sounds by using the same material in different contexts over chords. This is what I think of as Monder or Lund doing when they take one harmonic structure and apply it in different contexts. Check out my tune Nibiru (:-)) which is very much an exercise in that type of thing.
It's kind of anti-harmony if that makes any sense. I want harmony to be completely background in my playing, or heavily horizontal. Ideally I want my voicings to be conceived melodically too.
It's quite possible I'll do a volte face in the near future. Triads work very well on the guitar, but even then there's different ways you can view it....
Gibson Thin line Guitar Models
Yesterday, 11:07 PM in Guitar, Amps & Gizmos