Members gennation Posted July 13, 2008 Members Share Posted July 13, 2008 A little progression I stumbled on this morning...(think of it as a latin/Bossa Nova thing)... ||: Dbm9 | Dbm9 | Dbm9 | Dbm9 | Cmaj9 | Cmaj9 | Cmaj9 | Cmaj9 :|| Try the chords like so... Dbm9 E--x--B--4--G--4--D--2--A--4--E--x-- Cmaj9 E--x--B--3--G--4--D--2--A--3--E--x-- Scale wise, use Db Dorian and C Lydian. Instead of thinking "scale", try a scale subset (where the action between the scales happens)... For Dbm9 create your phrases using nothing but these notes... E-------------------------B------------4------------G------4--6-----6--4-----D---6-----------------6--A------------------------E------------------------ For Cmaj9 use nothing but these notes to create your phrases... E---------------------------------B---------------3--5--3----------G---------4--5-----------5--4----D---4--5-----------------------5--A---------------------------------E---------------------------------- Think of those NOT as lines (although they work nicely) but as your scales you'll use. Try not the stray from them. Find the music in them. Notice the common note between them...B. Even more importantly, see that the difference between the two chucks are really the Ab B Db Eb in the Dbm9 chuck and the G C D E in Cmaj9 chunk... Notice that these are half step mates from each other, so they create tension and release almost automatically for you if you move from chunk to chunk using half step connectors. These are... Ab->G->Ab-G, etc as the chord changeDb->D->Db->D, etc as the chord changeDb->C->Db->C etc as the chord changeEb->E->Eb->E, etc as the chord changeDb->E->Db->E etc as the chord change So there's a ton of ways to connect these two chords in the progression directly by half steps. Experiment. Work some out, you'll find the music, IOW your lines will start forming a sense of direction. And you'll also know when you are straying from the sound. This shows us that it's a bit of work keeping it together...but very easy to know when you are not. Both of these are very important aspects. Have fun! Link to comment Share on other sites More sharing options...
Members sftsyh Posted July 13, 2008 Members Share Posted July 13, 2008 great post Link to comment Share on other sites More sharing options...
Members TheGareth Posted July 13, 2008 Members Share Posted July 13, 2008 Great stuff, Mike! I might make a backing for this one. Link to comment Share on other sites More sharing options...
Members gennation Posted July 13, 2008 Author Members Share Posted July 13, 2008 Great stuff, Mike! I might make a backing for this one. That would be perfect. Would you post it here for people to play to? Thx Link to comment Share on other sites More sharing options...
Members gennation Posted July 13, 2008 Author Members Share Posted July 13, 2008 great post Hopefully it gives some inspiration. That Dorian group of notes are right out of Miles Davis note choices as he opens his solo in So What. It's amazing how much can be said with such few notes. Link to comment Share on other sites More sharing options...
Members TheGareth Posted July 13, 2008 Members Share Posted July 13, 2008 OK man, I made a little backing track. My playing is a little off in places but here it is! Enjoy! Link to comment Share on other sites More sharing options...
Members gennation Posted July 13, 2008 Author Members Share Posted July 13, 2008 OK man, I made a little backing track. My playing is a little off in places but here it is! Enjoy! Very nice! Thanks. Just for that here's a couple of Minor Tetrachord ideas you can use, think of each of these as two little chunks of notes for each chord: Use these for Dbm9 E---------------------------------------------------------------B---------------------------------------------------------------G--------------------------------------------6--8--6-----------D-----------4--6--4-----------------6--8--9-----------9--8--6-A--4--6--7-----------7--6--4--and-----------------------------E---------------------------------------- Use there for Cmaj9 E-----------------------------------------------------------------------B-----------------------------------------------------------------------G----------------------------------------------------7--9--7-----------D--------------7--9--7--------------------7--9--10------------10--9--7-A---7--9--10------------10--9--7---and---------------------------------E----------------------------------------------------------------------- Notice the two lower ones are a minor 3rd apart. Also, notice the two higher ones are a half step apart...as in chromatically next to each other. Try using this half step move as you're changing chords. It produces a dramatic effect. Link to comment Share on other sites More sharing options...
Members TheGareth Posted July 14, 2008 Members Share Posted July 14, 2008 How do you guys reckon Robben Ford or Larry Carlton would play over this vamp? Link to comment Share on other sites More sharing options...
Members gennation Posted July 14, 2008 Author Members Share Posted July 14, 2008 How do you guys reckon Robben Ford or Larry Carlton would play over this vamp? Pretty much Db Dorian and C Lydian and the Pentatonics and Tetrachords found within those scales. You can also include many chromatic notes that lie in the Pentatonic and Tetrachords chords. Try taking each half step in each scale and bend the lower step up to the next highest half step, it'll make the phrases more dreamy and bluesy... So, for Db Dorian bend the Eb to Fb (or E if you will) and bend the Bb to Cb (or B if you will). For C Lydian bend the F# to G and bend the B to C. Also, Carlton would probably find little chord clusters in the scales to to give some harmony unbalance before bending one of those half steps into a nice resolve. Link to comment Share on other sites More sharing options...
Members TheGareth Posted July 14, 2008 Members Share Posted July 14, 2008 Pretty much Db Dorian and C Lydian and the Pentatonics and Tetrachords found within those scales. You can also include many chromatic notes that lie in the Pentatonic and Tetrachords chords.Try taking each half step in each scale and bend the lower step up to the next highest half step, it'll make the phrases more dreamy and bluesy...So, for Db Dorian bend the Eb to Fb (or E if you will) and bend the Bb to Cb (or B if you will).For C Lydian bend the F# to G and bend the B to C.Also, Carlton would probably find little chord clusters in the scales to to give some harmony unbalance before bending one of those half steps into a nice resolve. Cool! Thanks for the information. :-) Link to comment Share on other sites More sharing options...
Members gennation Posted July 14, 2008 Author Members Share Posted July 14, 2008 Actually, Carlton and Ford don't really do a whole lot of direct "modal" stuff but more blues jazz. The sound you hear them get is the altered sound when turning as much of the Blues progression into V-I's as they can. Other than that it's generally a mix of Major and Minor pentatonics and the chromatics they include. Link to comment Share on other sites More sharing options...
Members greenbean Posted July 22, 2008 Members Share Posted July 22, 2008 I just wanted to say that I tried this today and had a lot of fun with it. I really like these types of lessons where I'm given some guidelines / explanations and then am able to work it out on my own. Link to comment Share on other sites More sharing options...
Members mosiddiqi Posted July 22, 2008 Members Share Posted July 22, 2008 Great stuff, thanks Mike!..I'm more of a straight ahead rock player so this stuff really helps me open my ears to new options...it's amazing how well some of the ideas can be applied to straight power chord rock as well.. Link to comment Share on other sites More sharing options...
Members gennation Posted July 22, 2008 Author Members Share Posted July 22, 2008 Glad you like this guys. Yes, even if playing straight up power chord rock riffs you can still "find the Mode" for each chord. When the chords aren't connected through a diatonic scale, that's when you get that shifting or direction type sound in the playing. Since I've fallen so far behind on my "weekly" lesson posts and I have a TON of these modal type progressions, maybe I'll post more up. I can post the chord progression, style and some Modal concepts to mess with. I'll post backing tracks where I can and maybe examples...I really need to get more lessons up. Stay tuned. Link to comment Share on other sites More sharing options...
Members TheGareth Posted July 22, 2008 Members Share Posted July 22, 2008 Since I've fallen so far behind on my "weekly" lesson posts and I have a TON of these modal type progressions, maybe I'll post more up. I can post the chord progression, style and some Modal concepts to mess with. I'll post backing tracks where I can and maybe examples...I really need to get more lessons up. Stay tuned. Yes man I would like that very much. I'd really like it if you could post some melodic minor and diminished scale stuff in the vein of Robben Ford or Larry Carlton. :) Link to comment Share on other sites More sharing options...
Members greenbean Posted July 23, 2008 Members Share Posted July 23, 2008 Since I've fallen so far behind on my "weekly" lesson posts and I have a TON of these modal type progressions, maybe I'll post more up. Please do! Link to comment Share on other sites More sharing options...
Members Epplesauce Posted July 23, 2008 Members Share Posted July 23, 2008 I just wanted to say that I tried this today and had a lot of fun with it. I really like these types of lessons where I'm given some guidelines / explanations and then am able to work it out on my own. agreed Link to comment Share on other sites More sharing options...
Recommended Posts
Archived
This topic is now archived and is closed to further replies.