The Jazz Guitar Chord Dictionary
  1. #1

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    I am forming a theory about using chord extensions. It seems to me that if you are ascending a scale, chord tone extension notes sound best when you don't include the root, and of course (at least, I think of course ?) when you place them on the strong beats.

    I say this because I learned improvisation using entire scales, and for many year I would play the root as I ascended past the octave, and I would wonder what was missing. Those ninths don't seem to sound like the ninths but rather they sound like seconds.

    I hope I explained my thoughts OK. To sum it up, once I reach an octave of an ascending line, I don't play it, I just go to the extension notes and it seem to bring out a little magic to my ears.

    Any thoughts?

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  3. #2

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    I think this is the idea behind Garrison Fewell's books.

  4. #3

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    Quote Originally Posted by AlsoRan
    I am forming a theory about using chord extensions. It seems to me that if you are ascending a scale, chord tone extension notes sound best when you don't include the root, and of course (at least, I think of course ?) when you place them on the strong beats.

    I say this because I learned improvisation using entire scales, and for many year I would play the root as I ascended past the octave, and I would wonder what was missing. Those ninths don't seem to sound like the ninths but rather they sound like seconds.

    I hope I explained my thoughts OK. To sum it up, once I reach an octave of an ascending line, I don't play it, I just go to the extension notes and it seem to bring out a little magic to my ears.

    Any thoughts?
    Warne Marsh two octave scales?

  5. #4

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    Quote Originally Posted by AlsoRan
    once I reach an octave of an ascending line, I don't play it
    That seems a bit arbitrary. It’s also a level of rigidity that could even make one’s playing formulaic and perhaps less interesting. You can start an ascending line that’s based on a 13th anywhere within the chosen scale or on an accidental leading into any of the notes. You don’t have to include the root at all - and including it at each octave in a long ascending (or descending) line could add harmonic grounding, especially if the bass and any other comping instruments like piano are being spare and not leaning on the root (or if you’re playing solo).

    You might try basing some lines on inside / closed inversions of those extensions too. Getting an extended feel from notes within an octave is challenging but can be done. Also consider harmonics to add notes above that octave from the same position on the board.

    Solos are spontaneous compositions - each one can be fresh and new, even using the same old notes. Rules can help keep a tune on track, but they can also restrict the imagination and even make solos boring.

  6. #5

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    Quote Originally Posted by RyanM
    I think this is the idea behind Garrison Fewell's books.
    Indeed! His books are actually what helped me to identify and isolate my own love of this sound. I then began hearing it in many of the lines that I liked from recorded songs. Great catch!

  7. #6

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    Quote Originally Posted by nevershouldhavesoldit
    That seems a bit arbitrary. It’s also a level of rigidity that could even make one’s playing formulaic and perhaps less interesting. You can start an ascending line that’s based on a 13th anywhere within the chosen scale or on an accidental leading into any of the notes. You don’t have to include the root at all - and including it at each octave in a long ascending (or descending) line could add harmonic grounding, especially if the bass and any other comping instruments like piano are being spare and not leaning on the root (or if you’re playing solo).

    You might try basing some lines on inside / closed inversions of those extensions too. Getting an extended feel from notes within an octave is challenging but can be done. Also consider harmonics to add notes above that octave from the same position on the board.

    Solos are spontaneous compositions - each one can be fresh and new, even using the same old notes. Rules can help keep a tune on track, but they can also restrict the imagination and even make solos boring.
    This rings true. I am seeing that in the end, it will come down to my ears. If I can continue doing the work, I will eventually have my own set of "rules" or tendencies that make up my own voice.