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Originally Posted by grahambop
Yes I just bought and watched this last night. It is her second Hot Licks tape called “Advanced Jazz and Latin Improvisation.”
For major chords she played major. For minor chords she plays dorian and then talks about two types of dominant chords
type 1 - non resolving - for that she plays melodic minor a fifth up
type 2 - resolving - for that she plays melodic minor 1/2 step up
She likes to call melodic minor “jazz minor” to differentiate the classical melodic minor up one way down another thing.
She then plays a solo version of Blue Bossa to a metronome demonstrating those concepts and slays it.
DVD opens up with a great lesson on bossa nova basics.
Huge Emily fan here.
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01-04-2022 08:59 AM
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Originally Posted by alltunes
In case this is helpful to anyone:
Putting it in slightly different terms, if she's resolving to the tonic from a V7, she alters both 5s and 9s. That's the alt scale, which has the same notes as melodic minor a half step up. A simple way to get most of that sound is to play a minor-add-9 chord a half step up. So, that would be Abmadd9 against G7. Gives you 3, b9, #9 and b13. A Db13 covers the same sort of thing. It works in soloing and comping.
But, if it's any other dominant (I believe this group would be called secondary dominants), she plays them as 7#11 chords. That turns out to be the melodic minor of the iim relative to that chord. So, if the chord is D7, she plays Amelmin. You get the F# and G#. Works great in soloing. Can be great in comping too, but you have to be careful that the #11 doesn't clash with something else going on in the band.
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Originally Posted by rpjazzguitar
By adding a 9th you get the addition of the inert G (root) note, which I don't mind as I quite like the G to Ab chromatic thing (I believe this equates to what some call the "Coltrane Pentatonic"?)
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Originally Posted by alltunes
That said, you will quite often find Bach and other composers of his era using the ascending form of the melodic minor descending... so it's not as cut and dried as all that. The melodic minor is understood to have a 'dominant' aspect (not that they would have put it that way), so for instance the use of A melodic minor on an E7 chord.
This is obviously different from the jazz concept of what I call 'applied minor' (for example Dm on G7, Abm on G7alt etc) and I would be interested to know how this came about. It is possible to see the development of this thinking in the way Django plays a Am6 sound on D7, for instance - which comes out of the shapes; Django also uses the altered form and the lesser taught 'dominant II form' (sus13b9#9 or Fm6(maj7) on G7 for example) as does Charlie Christian. And of course, Wes.
Much of the basic tonality of jazz c1930-60 is in the m6 chord (which can also be understood as m7b5). Mastering that sound and its applications was a real door opener for me.
So clearly the theory follows practice to some extent - though what I hear in the music itself is a bit looser than the way it is taught today (people are more concerned with harmonic correctness now..)
I think of it as a specifically jazz concept, but perhaps there are clear examples of this use in classical music too.
Dorian on minor is a VERY 1960s Wes type sound. But again you can find some use of the scale in earlier players; however, Wes in common with the post-bop players learns more into the b7 note on minor chords, which makes it sound more like a modal minor.
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'Mastering that sound and its applications was a real door opener for me.' Mr Miller
and me
not sure I would say I've mastered it mind - trying, with increasing success, to master it is opening doors...
Elias Prinz -- young talent from Munich
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