Good thoughts, as useful for improvisation as they are for composition.
Don't be bitter, be better. (A.Madubuko) Flesh will rot but songs remain in ages. (Citrina)
Mihai Sorohan
@sorohanro
Age 49, Male
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"Gheorghe Dima" Music Academy
Norway
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Comments
My thoughts exactly.
ahh. Foreign language. Gross. haha.
Actually, if you listen to latest "Testament" gigs or recordings, when Skolnick got back, you'll hear a lot of this ;)
cool new post man
not sure how the opening trick would make for a polytonal sound...as Dmin Fmaj and Gmaj are all in the same key. or would the accompaniment already be playing something in the key of D?
you could also just use G melodic minor over the last chord progression
As I understand it, the main point is to break away from scale and play some triads that have some notes in common with the main chord, but without playing the actual main chord.
From what I see, it creates more tension and because of the contrasts, the release points stand out more.
So, no 3 chords but just 2, mainly IV and V from the main chord.
In C maj you would have two pairs:
f, a, c - f and a create tension, c is a release point
g, b, d - b and d create tension, g is a release point
By playing a triad you get phrasing "by default". Well, at least this is what I understand.
It's not a matter of "what are the scales" and "what are all the possibilities" but more of "how can we get a phrasing which keep coherent on all solo".
news* post
So as I understand it, you could solo those F and G chords over anything in the Cmaj family?
In a modal jazz context, say we were in D dorian with four bars of Dmin7 in the rhythm section followed by 4 bars of G7. The soloist would run patterns on Fmaj and Gmaj triads over all 8 bars? And the chords could really be anything within the C family?
Sort of yes.
THANK YOU -
it remind me of the stylings
spike lee used with his father's scores
in his early films!
++
Poniiboi
I wish I remembered musical theory!
sorohanro
:)) I wish I knew, so I would have what to remember :))