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Originally Posted by cubistguitar
I guess what I'm getting at is that the integrity of your line, from start to finish, can override potential conflicts in the chord.
But to make it work, you must have a line that is strong from start to finish.
If you were to always adhere to the b5, it would saturate the ear and the solo will sound predictable because people will start to anticipate what you'll be doing when that chord comes around. My 2 cents.
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08-17-2012 07:18 AM
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Originally Posted by AmundLauritzen
thanks for this response, good points for sure
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Originally Posted by cubistguitar
Jazz blues is an excellent example of that. Basic outlines with unstable chords everywhere, opening so many doors for new movement. Wes was another master at this, though you would not realize how much he was really out there until you transcribed and analyzed his playing...There are no such things as avoid notes in the hands of a master.
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Originally Posted by AmundLauritzen
I'm kind of gravitating to the wholetone camp on this (not lydian b7).
HW dim would include the G#, but not the other melody note, E.
Originally Posted by AmundLauritzen
I also like the A b3 pent on a plain D7: A B C E F#.
[quote=AmundLauritzen;248514]
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Originally Posted by cubistguitar
But of course, wholetone incorporates both C+ and D+ (not to mention E+)! Neat solution...
IOW, wholetone is a totally ambiguous scale, with no root note (or 6 root notes, however you like to look at it). IMO it has just the right sound for that part of that tune.
But I suspect the D altered scale (aka "diminished wholetone") could work well too...
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Originally Posted by AmundLauritzen
Originally Posted by AmundLauritzen
Originally Posted by AmundLauritzen
Personally I don't mind sticking with the b5/#4 there - in fact I prefer to - because I think it's the big attraction to this tune (along with the other 2 or 3 chromaticisms). It's kind of the main hook. Ignore that and you have a pretty ordinary progression, risking a solo sounding like a solo on any other tune (although admittedly a II7 chord straight after I is not that common).
That's my $0.02 .
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Originally Posted by JonR
All this fun by just moving the G to a G# and hanging there a moment, wonderful composer, I would love to hear some comments on monks use of wholetone, but thats another thread
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Originally Posted by cubistguitar
Originally Posted by cubistguitar
Originally Posted by cubistguitar
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Monk had lots of whole-tone fills that he'd throw over just about any given gap in a tune- Just listen closely. Check out the final bars of Ruby My Dear for an obvious example.
at 6:05 on this clip he plays it running down. Once you hear it in his playing, you'll catch it everywhere.
Last edited by JonnyPac; 08-17-2012 at 04:34 PM.
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