Members Neehan Posted March 20, 2012 Members Share Posted March 20, 2012 So I'm transcribing George Benson's solo of the tune "Ready and Able," a couple times he's played an Em7b5 arpeggio over an F7 chord. I'm wondering why this works and how the E natural fits over the F7 chord. So he's playing the notes E, G, Bb, and D over an F7 harmony. Thanks for the help. Link to comment Share on other sites More sharing options...
Members jonfinn Posted March 20, 2012 Members Share Posted March 20, 2012 I haven't heard the solo. Are certain it's Em7b5 and not Ebmaj7?If you're certain it's right, my guess is that he likes the sound of it and doesn't think about it further. GB's good like that. He can bend the principles of music theory to suit his needs at will. It's a secret super-power he has. Link to comment Share on other sites More sharing options...
Members gennation Posted March 20, 2012 Members Share Posted March 20, 2012 I'm not familiar with recording, maybe you can post a link? But I'll take a couple of basic theory stabs at it...E is the leading tone to F. The leading tone is always in play, especial in jazz or dixie or blues, etc...its how you get to the next chord. The Em7b5 is more than likely a sub for C9, which would be considered the V7 in relation to F7... C7 contains the leading tone (E) to F. Another way of putting it would be, the V7 contains the leading tone to the I chord, or, in the next chord. Also, a 7th chord is a wide open sound for a soloist/improvisor and you find just about every note counts against it once you start playing free. This true for few reasons, the tension of the chord itself, and the tension of the chord and its movement within the progression. Link to comment Share on other sites More sharing options...
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