[TPIN] Good or bad,..here it is

[Jon Trimble]

Cool beans man.  Yeah, Bill Caldwell gave me three scales alt dom chords and 
said these were all I needed to memorize. G, Ab, and A using the same deal 
you just wrote about.  Pretty cool stuff.  I use that when I play the rock 
gig since I can do whatever I want.  Problem on the boat is, there are 
simply too many Cowboy chords goin on and I get flack for it. (sigh)  I 
still sneak a little in at a time.  Man, this is great stuff.  I'm saving 
these emails...:)

Thanks again...:)

Jon
----- Original Message ----- 
From: "Jeff Helgesen" <jeff.helgesen at gmail.com>
To: "Jon Trimble" <jontrimble at cox.net>
Cc: <tpin at tpin.okcu.edu>
Sent: Monday, November 06, 2006 10:24 AM
Subject: Re: Re: Re: [TPIN] Good or bad,..here it is


> On 11/6/06, Jon Trimble <jontrimble at cox.net> wrote:
>> No flames here buddy...:)  Man, Saxes seem to be the lion when it comes 
>> to
>> pressing issues/changes.  I just thought it was cause they didn't have as
>> much to work out in the way of chops.  Freakin altered dominant scale
>> arrgh!!!
>
> Jon:
>
> That ALT7 thing is just a sound.  It's easier to used a diminished
> scale to get most of those notes, in my opinion (though you miss out
> on the altered 13).
>
> Any time you see a V7(b9) [really a C13(b9) for our purposes here],
> try choosing notes from the diminished scale (half-whole) for that
> root.  For C7(b9), that scale would look like this:
>
> C Db Eb E F# G A Bb
>
> (If half-whole diminished makes your head spin, thing of a regular
> Bb/Db/E/Gdim7 scale, whatever's easiest to remember, as they're all
> the same notes.)
>
> For example, playing a lick over C7b9 might look like this (start on
> fourth space Eb and go to the closest interval for the next note):
>
> Eb Db A C Bb F# A G D# F# E C Eb Db etc.
>
> V7b9 is a common dominant sound when it's resolving to a minor chord
> change.  Where you might see C-7 / F7 / Bbmaj in a major tonality, the
> same sequence in a minor tonality in jazz might look like C-7(b5) /
> F7(b9) / Bbmin.
>
> Carl Saunders uses this ALL the time.  Symmetrical scales (diminished,
> whole tone) are very useful in jazz improvisation, especially if
> you're into constructing sequences (a mini-motive that moves through
> or implies different tonalities over a change or changes).
>
> For an example of Carl using this sound, you might look at his solo on
> "Stella By Starlight" -- go here and scroll down a little bit for the
> PDF file:
>
> http://www.shout.net/~jmh/saunders/
>
> Look at letter C (page 3) - at the top of the chorus, you'll see an
> F#-7(b5) / B7(b9) / --- this is a classic ii7(b5) / V7(b9) progression
> that, if it resolved would take you to the key of E minor.  Over both
> of these changes, Saunders plays a diminished scale based on the notes
> as described above.
>
> This is a nice solo to study, it's extraordinarily logical, the lines
> are really long, and it's in a register that's fun for guys with lead
> chops.  :-)
>
> Cheers,
> Jeff
>
>
> -- 
> Jeff Helgesen
> Buy our CD at http://cdbaby.com/cd/jazzmayhem
>
>
> -- 
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