Originally Posted by Bar_Hook
ok so leme get this staight with a new example. Supposing you had a IIm7, V7 progression
Am7, D9 Am7, D9
Gm7, C9, Gm7, C9
what could you play on that, i think i know but i wana know if its right
thanks alot for this
Am7-D9? G major all the way babes. If you wanna go easy.
Gm7-C9? F major. Ditto. Or the maj pentatonic.
If you wanna do it the hard way, well. You can first figure out the chord tones (Am7: A, C, E, G. D9: D, F#, A, C, E) and then check out all the scales that include those notes. E.g. G major includes those. This is the essential point of the revered chord-scale theory. Lo and behold!
If they sound "good" or "right" is strictly a matter of your phrasing ability and confidence, as known as BALLS.
For Am7 you could use A ionian, dorian, phrygian, dorian b2... as they all include the Am7 chord tones. E.g. A dorian, A
, B, C
, D, E
, F#, G
. You have the chord tones in the scale, all that's between (4th, 6th, 2nd) is just for adding colour
. Same process of analysis with D9. I bet yougetthepictcha.
. Really no jazz cat thinks it that way. The trick of hip sheité is chords over chords
. That's right, you heard right. The rhythm section is already playing those chord changes, so WHY ON EARTH SHOULD YOU? You can make up your own changes. This is the ultimate-pinhead method of superimposing arpeggios. Watch and learn.
On Am7, f.ex. Cmaj7 is safe and cool. C, E, G, B. That's almost like your Am7 chord (if you don't remember that one, look back a number of rows). The only thing that's different is that B. On Am7 it's a 9th. Everyone knows a min9 sounds kewl
I could present a system of arpeggios over a 4-part chord, ranging from "very consonant" i.e. "inside" to "very dissonant" i.e. "out", but I'm lazy and it'd be a long post. So, I say: EXPERIMENT. And TRANSCRIBE.
Go shred it. Just watch that you land on a chord tone and you'll be safe.
Use your EARS.
An exaple to chew on: On IIm7b5-V7-Imaj7 in C [Dm7b5, G7, Cmaj7] try Abmaj7#5, Db7, Cmaj7#4. Write some lines, use some nice airy intervals like 6ths and 4ths instead of just playing arpeggios straigth through. See what you can come up with. The transpose your new favorite licks to 12 keys. Learn 'em good, stick 'em into your solos. So there, that should keep ya busy during the holidays...
Dear Lord did I drivel away again. Maybe I should start teaching the next generation of shred-o-matics. How about that?!?