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Originally Posted by Jimmy Smith
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03-07-2024 10:20 AM
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Originally Posted by Bop Head
Also, my musical tastes have a pattern of sudden epiphanies where something I've just really disliked suddenly leads to an "ears opening" moment and I get it, and the music becomes part of my favorites.
I have learned to treat my own predilections with a dose of skepticism.
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Originally Posted by lawson-stone
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I hear it as a C altered dominant, and it might be something to play if the comping instrument is hanging out on a C7#9 chord.
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Originally Posted by pamosmusic
Turns out, I learned more from the book than i did from this thread. But these days that's not a big surprise.
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Originally Posted by lawson-stone
People sometimes forget that licks in books (at least good ones like Dave Bakers) and licks from solos are categorically different things.
A lick from a solo is going to be the best thing a particular person could play at a particular moment. So there will be excellent vocabulary but limited material in there.
A lick from a (good) book is going to be for educational purposes. Which seems like an obvious thing, but it’s easy to forget.
Meaning that Dave Baker probably didn’t set out to write a killer blues lick, per se. He probably set out to write “a lick that uses lots of diminished stuff in the context of a blues.” So I would treat them more like etudes. When I played an etude in classical guitar lessons, the important question was always “what is this sonofagun supposed to be teaching me.”
So I’m not sure finding the best single place for it in a blues is exactly the right strategy. I think taking small segments that you like and trying them in different contexts would be the move.
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Originally Posted by lawson-stone
Or if you want to get simpler, the note B in the line is the only one that is "inadmissable," all others are diatonic or altered tones.
P.S. - I see now that I repeated what PMB said earlier:
"The opening is a "blues scale" phrase using notes extracted from the C diminished (whole-half) that's filled out in the remainder of bar 1. The second bar is a Coltrane-type pattern from the diminished located a semitone below. Strangely enough, the expected altered diminished sound over a C7 (C half-whole) is the one choice not used here!"
But he contradicted himself in his last sentence, the first bar is from the C (Eb/Gb/A) diminished scale, second bar is dim. scale 1/2 step higher (except for the final C note).
Last edited by Mick-7; 03-12-2024 at 03:40 PM.
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