My scale choices: Cm7 - C dorian/C melodic minor/ C dorian #4/ C dorian b2 Fm7 - F dorian/F melodic minor/ F dorian #4 / F dorian b2 Ab7- Ab Lydian flat7 (lydian dominant) G7- G superlocrian (altered)
@@ibanezsb70 It's not that you must, you can easily use C minor pentatonic through most of this harmony and it will sound OK. But when you choose a scale for each chord and you're councious of the chord changes throughout the theme, you're more able to enhance harmonic changes and play some "tasty" notes that will only work on that specific chord. For example, if you think C dorian on Cm7 you'll have the note A, that will work just fine on Cm7. When the harmony shifts to Fm7, you'll have to play the note A-flat, instead, and the constrast between those two notes will show that you're aware of the harmony, you "guide" the listener through it, instead of just playing some random "correct" notes. Hope it helps!
It's so jazzy, yet blues/rock riffs sounds soooo good over this track. Not to mention how well the harmonic minor mixes in over the G7. Love this track.
you probably dont give a damn but does any of you know a way to log back into an Instagram account? I was dumb lost my login password. I appreciate any help you can give me.
*SoJ :* Haahhhh... haaaahhh,...You is MINE boy... You signed right here... you signed your soul away! *Howard Moon :* What??? *SoJ :* Yeah, I own ya baby! Everytime you pick up an instrument, I'll be there... inside ya... wearing ya like a glove! Your sweet ass is mine... yo-chicka-chicka-ow! OW!!!! MY HAT IS ON FIRE! What's wrong with you, are you blind??? Why didn't you tell me? *Howard Moon :* Sorry, I thought that was your 'look' *SoJ :* No it ain't my look. It's a brand new hat! : ( Spoiled my exit now : ((((
This is played at approximately 108 bpm. ~27 measures per minute ~2.25 choruses per minute ~26.67 seconds per chorus Thus you 11 chances to prove you can solo over the C minor blues
Thanks for this clear comping...I'm trying to develop voice leading; Are you able to list the voicings you are using? I saw that it's Ab7#11 for bar 9 but I'd like to know all the ones for Cm7. Sounds like lots of 4th chords?
Yes, any combination of the common embellishments on that chord : 9M, P11 and sometimes M13. Also, M7 can work, and even sometimes #11 (but they are tricky to use)
Ok fellows i gotta question here...If we see it with the degree, that would make this Blues track looking like: I-I-I-I IV-IV-I-I (so far so good standard 12bar blues progression) And then VIb-V-I-I/V Is that corect?...possible?... Thanks !!
Hi, gotta say thanks, I come here like everyday to check out my triad pairs and other advanced ideas with some super-imposing, or just to play around basic stuff, enjoying this simple and beautiful minor blues. It makes my day much more acceptable. :)
What a fantastic backingtrack!! I have a question. Is it possible to use your backingtrack for a video on youtube? I want to play over your backingtrack and film it. I will give you your credits in the video or in the discription. Please can I use it?
This sounds so smooth! What does the % symbol represent tho? I've googled it and found nothing... I'm assuming its there to tell you to play some variation of other notes found in the chord that appears directly before the %? Idk I'm also not a guitarist lol
Right it's a Ditto instead of rewriting the word repeat itinually over and over and over again so it's transcriptions. Short hand for expediancy I have to think I don't know the symbol system quite well at all There are various sources referencing the exact nature and the truth is that it's not a classicalized hard and fast rule or there remains at least no. Official compendium or lexicon that. Dictate what is the precise interpretation of such Perhaps I'm ignorant of a written compendium but maybe a sort of collectively established through learning scholarly type collegiate level musicians that's all notwithstanding it just in case there isn't any such tome. So forgive my ignorance I just think of the tonal relationship to the root and think 1 3 5 flatten the fifth sharpen flatten. And play harmonically and. Find my way up and down any and all. Modes intervals arpeggiation etc even though I don't read music It's really my cathartic. Eventuating of the musical law
Jazz makes one begin to develop all sorts of stuff to. Draw parallel and it's just a matter of jazz and becoming acquiescent to the flow and the fluidity of such that with minimal yet efficient. Practice of even and consistent with discipline not only in the perjorative context of the word but utterly every conceivable sense that is a good. Motto keeping a sojourning musician in proper even and rhythmic standing But ultimately we who have been seduced by the way tone and harmonic relationship really. Speak at least as loud as we speak through such modalities but all that said my overall point is a beneficial. State of a hypnotic trance and not only do you submit into the luxurious bounty of the musical law you submerge your mind into the backline of the aforementioned benevolent discipline. Spirit of total acquiescence forms a grid-work or matrix of rhythmically innoculated ease it's totally accessible to all who have investiture in the bank of improvisational imperative that is so available to you not just collegiate scholars That's a known draconian practice of centuries ago when it was by design to not share what is the emperical and collective of the. Cumulative knowledge of all humanity yet fear not my Young brave jazz warriors we bring anything and all to bear if we deem it such is necessary We hold a F¢kk-ToN of influence through are effort to make sure that the torch keep burning and at the same time it's all about just making it feel Cool or groovy and more or less not getting hung-up on the. Snags of imperfections because it's purely mental the state of perfection only exists while in the real time pursuit with an enthusiasm for the struggle. Much love and respect to the. Next generation of musical progenisis take comfort in knowing your investiture in your music is. For real and more importantly take care of yourself and don't you fu¢¥ing Dare allow yourself to backslide into the resentment of the past or worry about the whole your precious ego. Needs no sympathy yet a sympathetic accompaniment is solid steel. We are bound only by are inability to forgive No no matter the score or how heinous or unrequited the score might be between you and others it's irrelevant the grown up thing and the most powerful thing to do is to forgive because no matter how heinous that score may be you're just carrying it around like chip on your shoulder and it's poisoning your focus you must be kind to yourself
