Herbie Hancock inspired - playing over Maj7 chord using dom7 chords in minor 3rds

[jzucker]

Herbie Hancock inspired - playing over Maj7 chord using dom7 chords in minor 3rds, diminished, Part 2


In my previous video i demonstrated playing over an AMaj7 chord with Dom7 chords moving in minor 3rds.


These were based on the 7, 2, 4 and 6th of the key. (Ab7, B7, D7, F7) over the AMaj7.


In this video, I'm demonstrating something similar but based on the 3, 5, b7 and b9 of the key. (We're in Eb this time) so G7, Bb7, Db7, E7.

This lick and exercise demonstrates in more detail how you can use Dom7 chords in minor 3rds over a maj7 chord. In the
accompanying video, i play this up the neck in minor 3rds with an EbMaj9 chord playing in the background.


In the last 2 sequences over the EbMaj7, I alter the "rest" note to be a chord tone.


Except for altering the last tone in sequence 3 & 4, all other notes are part of the Diminished scale that is up a half step from the Dominant 7th chord. So Abdim, Bdim, Ddim and FDim - ALL OVER EbMaj7.


If you want to know more about why these work, check out my article jack zucker - Dodecaphonics

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#jazzguitarlessons #guitarlessons
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[sgcim]

I'm used to using a different set of dim chords over a Maj7 chord- on EbMaj7- Eb F#, A and C Dim., or Ab7b9 B7b9 D7b9 F7b8, but this is a half step higher. I'll have to read the article to understand this better.

[jzucker]

I'm used to using a different set of dim chords over a Maj7 chord- on EbMaj7- Eb F#, A and C Dim., or Ab7b9 B7b9 D7b9 F7b8, but this is a half step higher. I'll have to read the article to understand this better.

I covered that usage in my previous example

[sgcim]

I'd have to say that it probably sounds better when Herbie plays it, because he can play the dom7 chords in the LH and play the single notes in the RH, all against the bass playing the tonic harmony, creating a stronger sense of suspension of the dominant over the tonic than we can, because we're just playing single notes over the bass and/ or piano, and the sense of suspension and release isn't as strong as the tonic dim scale over the tonic that I mentioned in my post.
However, I'll try it out on a song like "Secret Love", that stays on the tonic for an eternity, and hear if it's as effective as the other dim scale patterns I mentioned, which I know works.

[jzucker]

I'd have to say that it probably sounds better when Herbie plays it, because he can play the dom7 chords in the LH and play the single notes in the RH, all against the bass playing the tonic harmony, creating a stronger sense of suspension of the dominant over the tonic than we can, because we're just playing single notes over the bass and/ or piano, and the sense of suspension and release isn't as strong as the tonic dim scale over the tonic that I mentioned in my post.
However, I'll try it out on a song like "Secret Love", that stays on the tonic for an eternity, and hear if it's as effective as the other dim scale patterns I mentioned, which I know works.

coltrane and brecker and tons of guitarist do this without the left hand accompaniment.

[sgcim]

coltrane and brecker and tons of guitarist do this without the left hand accompaniment.

I tried it out against a song with static harmony, Secret Love, and it works out okay at that tempo 340bpm using diminished scale ideas from the four dom7 chords, just like I do with the four dom7 chords a half step lower, using that dim. scale/arps. It's a better sound than playing diatonic in Eb; you wind up like you;re playing some corny Spanish merengue if youdo that.