I have a question: as I saw it the scale contains FMajor, Fminor, F Lydian, F Dim triads, and these move through the four target tones. Your example showed going V-I or i but I wonder is there ways to use this to add color to major tonality. I am asking in the context of James by Metheny where there's not a whole lot of V-I going on but on different live versions with him, Mays, Brecker etc they get pretty active chromatically and I'd like to see if this scale has some kind of application on this kind of song.
@MichaelMcClintockMusic
2 ай бұрын
Good question. You can definitely superimpose some dominant chord ideas even if there aren't many V7 chords in the A sections of James. For example you could think about A7 over the 3rd and 4th measures even though it's got different chords written. This will definitely give you a nice "outside" sound. Does this make sense?
@allengoyne
2 ай бұрын
@@MichaelMcClintockMusic yes it does make sense, and I like that idea of superimposing a seventh onto a major. Currently at my level with that tune I have been sort of looking at that A7 in bar 3 as approaching the Bmin so I have tried a common tone approach from G to Gdim over the A7 that leads by half step to chord tones on the Bmin. On the B section, the bridge, I haven't yet found a way to execute well other than simply outlining chords or else side-slipping but I feel as though I'd love to superimpose some dominants in that section too so that when, or if, I do side-slip that it comes from a deeper well of mastery on the form.
@MichaelMcClintockMusic
2 ай бұрын
If you're ever interested in a lesson, I'm here to help. It's a great tune for sure.
Пікірлер: 6
Great lesson thank you
@MichaelMcClintockMusic
3 ай бұрын
Thank you!
I have a question: as I saw it the scale contains FMajor, Fminor, F Lydian, F Dim triads, and these move through the four target tones. Your example showed going V-I or i but I wonder is there ways to use this to add color to major tonality. I am asking in the context of James by Metheny where there's not a whole lot of V-I going on but on different live versions with him, Mays, Brecker etc they get pretty active chromatically and I'd like to see if this scale has some kind of application on this kind of song.
@MichaelMcClintockMusic
2 ай бұрын
Good question. You can definitely superimpose some dominant chord ideas even if there aren't many V7 chords in the A sections of James. For example you could think about A7 over the 3rd and 4th measures even though it's got different chords written. This will definitely give you a nice "outside" sound. Does this make sense?
@allengoyne
2 ай бұрын
@@MichaelMcClintockMusic yes it does make sense, and I like that idea of superimposing a seventh onto a major. Currently at my level with that tune I have been sort of looking at that A7 in bar 3 as approaching the Bmin so I have tried a common tone approach from G to Gdim over the A7 that leads by half step to chord tones on the Bmin. On the B section, the bridge, I haven't yet found a way to execute well other than simply outlining chords or else side-slipping but I feel as though I'd love to superimpose some dominants in that section too so that when, or if, I do side-slip that it comes from a deeper well of mastery on the form.
@MichaelMcClintockMusic
2 ай бұрын
If you're ever interested in a lesson, I'm here to help. It's a great tune for sure.