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  1. #101
    thanks for the everlasting insights great to be in the audience of music lovers/will try these on my guitar/giggle giggle
    Last edited by 604bourne123; 06-08-2009 at 12:18 PM.


    The Jazz Guitar Chord Dictionary
  3. #102
    [quote=franco6719;37291]These are all good ideas. You can also try harmonic minor-style licks on the altered 7 or and upper structure diminished arpeggio or tritone substition.
    Miles once said to Coltrane "You can't play everything on this tune." Coltrane replied: "Why not?"[/quote/ new scales change the moods of the 2/5s

  4. #103

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    Quote Originally Posted by skei
    Very nice quote. And those two (Miles and John) were also so very much opposing poles of sorts. Miles with his often sparse, probing methodology, Trane with the bombastic approach, well there are examples of very sensitive approaches from him too, Naima comes to mind, but more often than not the 'why not' seems like a good key signature for the man. He did it well, but so did Cannonball Adderley.

    Skei ( the my guys got into parliament one)
    Yes, and I think Miles really wanted that striking contrast in approaches basically (especially dramatic in the early years when many critics thought Coltrane was just nuts or something). It all worked amazingly well!!

  5. #104

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    Of course, I wasn't saying that everyone is capable of or should play like that early Coltrane "sheets of sound". The point here really was just that I think you should probably try all kinds of ideas, scales, arpeggios and find what you think sounds good. Don't get obsessed with the notion of the one perfectly correct scale or way of playing those changes. Explore a bit, even live and with other musicians. I'm still learning myself, but it seems to me that that is a large part of what jazz is all about.

    When practicing by yourself, I would think, you should almost TRY to make some mistakes or "mistakes", so you can learn to hear what sounds appropriate and not appropriate.