-
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?
-
01-28-2022 09:59 PM
-
I think this is the idea behind Garrison Fewell's books.
-
Originally Posted by AlsoRan
-
Originally Posted by AlsoRan
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.
-
Originally Posted by RyanM
-
Originally Posted by nevershouldhavesoldit
Rahsaan Roland Kirk
Yesterday, 11:05 PM in The Players