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Altered Dom Licks
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Bjorn



Joined: 04 Jan 2005
Posts: 1037
Location: Denmark

PostPosted: Tue May 01, 2007 12:12 am    Post subject: Reply with quote

Not really an altered dominant thing, but a thing I have worked on alot lately, is superimposing the Ionian mode over a m7 chord from a half step below.
i.e Cm7 thinking B major.....

It needs some intense practice, but it really is one og my favourite approaches to outside playing.

Check it out guys, its cool..... Very Happy

PS, in a post looong time ago where the discussion where about superimposing, I was at the moment dealing alot with getting A major modes and F# major modes to work over Cm.....

They are also cool, but I have now come to the conclusion that the B Ionian mode, really have some spicy stuff to offer.

try to check it over tunes like Equinox, Blue bossa Mr. Pc Impressions....etc etc....(Modulating due to the given tune offcourse)....

Its good......

Bjørn.
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jazz_fan



Joined: 16 Jun 2006
Posts: 23

PostPosted: Fri May 04, 2007 9:18 pm    Post subject: Reply with quote

Hi there
I decide to contribute to this thread today ; might be of interest for someone...
Here's a way I 'see' altered chord on the neck : thinking for example F7, I might play a tritone sub (B7) this way :

(first note : up beat)
F7 F7 BbM (or Bbm)
* 13 -9------------------*--------------------*-----------------
* -------10 -9-----------*--------------------*-----------------
* ---------------11-8-9-*-10-8-6------------*-----------------------
* ------------------------*------- -7-6--------*------------------
* ------------------------*-------------9-6-7-*8-----------------

To play this I rely on 2 chords form :

F#m
-9
-10
-11
-11
-
-
and Ebm7b5(=B9)

-
-7
-6
-7
-6
-

so it's playinf F#m/B7 against F7
Nothing new, I know, just want to contribute!
thierry
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jcap



Joined: 02 Aug 2007
Posts: 1

PostPosted: Fri Aug 03, 2007 8:14 am    Post subject: fun one Reply with quote

One thing I'd like to point out is that while it's a good place to start by thinking in terms of substitutions, ultimately you want to see things in terms of the parent chord. Playing IV over a V chord is really just playing scale degrees 7,2,4,6 relative to the V chord (in the mixolydian mode). There's less calculating to do. I think the hardest part about mastering these substitutions is to stop thinking about them as substitutions at all.


Also there were some substitution suggestions involving melodic minor patterns a semitone up using triads. That's more to think about than just being able to see G superlocrian over a G7 instead of Ab Melodic minor. and practicing a very triadic approach to the scale will ultimately result in more licks. There are a lot of dizzying substitution formulas in this thread when really they can be boiled down to a blending of mixolydian superlocrian and hmd colors.

for instance:
G7 Cmaj7
e |-------------------|------------
B |4-----------------|------------
G |--5------------3-|------------
D |----6----3---5---|-----------5-
A |-------4---6-----|-4-3-5sl7---
E |------------------|------------

here's a C7 lick, or gm7 C7 lick, or a Gm7b5 C7b5, etc...
gm7(b5?)
-3-----------------|-------------------------8|
---6----5----------|--------------------------|
------6---6-3------|-3sl5-----------5-7sl9--|-7
---------------4-2-|-------6-4-5-7----------|---10
-------------------|---------------------------|
-------------------|----------------------------|

(notes are all even 8ths and sl stands for slur and not slide, and have no rythmic value)

another fun one:

fmaj7
e |--------------------|---------8-------10-12-|10-----------------13
B |9-8----------------|------------------------|----13-11---------
G |----10---8--------|----7-9----9-10--------|------------12-14---
D |-------9---11-8-9|-10---------------------|--------------
A |--------------------|------------------------|-----------
E |---------------------|-----------------------|-----------

Another one which shares that gimmick in the last bar of suspending the chord on the b string and resolving with an escape tone on the g string, as well as kind of stacking tensions in the sense of creating multiple ones before resolving any of them.

gm7 c7 fmaj7
c7 fmaj7
e |5-6-|7---------8---------|---------7-10-8------|--
B |-----|-6------------------|-------8--------11-8-|10
G |-----|---5-7-9-----------|-----9-----------------|
D |-----|------------10-9-8-|7-10------------------|-
A |-----|---------------------|----------------------|----
E |-----|---------------------|-----------------------|----

(last 3 notes in first full bar are 8th note triplet)
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steve



Joined: 04 Jun 2005
Posts: 867
Location: oz

PostPosted: Fri Aug 10, 2007 3:04 am    Post subject: Reply with quote

Quote:
There are a lot of dizzying substitution formulas in this thread when really they can be boiled down to a blending of mixolydian superlocrian and hmd colors.


or the chromatic scale, or.....
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adam bopel



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PostPosted: Fri Aug 01, 2008 11:43 am    Post subject: Reply with quote

A lot of very interesting material here ... I'll have to dig all this !
Rolling Eyes Cool
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princeplanet



Joined: 28 May 2009
Posts: 23

PostPosted: Sat May 30, 2009 4:48 am    Post subject: SOMEBODY MUST RECORD THESE! Reply with quote

Hi everyone, first post. This is such a great thread and some of the ideas are awesome. What would be better if someone had the time and inclination to record all these hip ideas so we can all hear them before struggling with them. It's a big ask and I would if I could, but I'm not the right guy. How about someone else? It would be HUGE!

Thanks.

pp
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steve



Joined: 04 Jun 2005
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Location: oz

PostPosted: Thu Jun 18, 2009 9:46 am    Post subject: Reply with quote

Here's another I came across lately playing My Funny Valentine:

Playing the maj7 of a Dom chord. So play an F# note on the G7. Sounds mean, I love it.

There are many ways to accomodate the sound, but the two I find easiest are: think of it as the b7 from the bvi7 chord (Ab7), or as the b5 (#4) in the I blues scale (C Blues).

You can really hang on it, dig it in if you are carefull. Lovin' it.
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chrisj



Joined: 03 Jan 2009
Posts: 22
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PostPosted: Fri May 14, 2010 6:24 am    Post subject: Reply with quote

I have a improv guide that I wrote up explaining different superimpositions of scales and arpeggios. Some are quite obvious but others are interesting. Basically it describes on what degree of the chord to play something. For example, Cmin7.

You could play a minor pentatonic on the root, 2nd and 5ths of the chord (C, D and G minor pentatonic).

or a major scale on the b7 (A Bb major scale, this would be the dorian mode)

or a melodic minor on the b5th (an F# mm scale over the Cmin7). This would give you something very interesting, with the intervals of: b5, b6, 6, 7, b2, b3, 4.

or a whole tone scale down a half step: 7, b9, b3, 4, 5, 6

or augmented arpeggios on the b3, 5 and 7.

These are just a few examples, but you can find the whole list for all chord types here: http://chrisjuergensen.com/improvisation%20guide.htm

These are tricks I lifted from some of the best over the years.
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meritonemusic



Joined: 08 Jul 2012
Posts: 20

PostPosted: Thu Nov 07, 2013 4:36 pm    Post subject: Re: Altered Dom Licks Reply with quote


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meritonemusic



Joined: 08 Jul 2012
Posts: 20

PostPosted: Thu Nov 07, 2013 4:37 pm    Post subject: Re: Altered Dom Licks Reply with quote

steve wrote:
I'm just trying out my new found skill thanks to my lesson from C.OSulluvan.

It's just a trial run, however, if you like why not post in some of your hippest bop licks over altered dom chords.

Code:
G7#5b#9                   Cm7

---------------------|------||
-6-4-3-----3---------|------||
-------5-4---3-------|------||
---------------6-3-4-|-5----||
---------------------|------||
---------------------|------||




shucks




Great stuff!

How about this dominant based jazz lick?

it's a sequence based on the symmetric diminished scale..

http://www.youtube.com/watch?v=zwLZ-IaU4Fk
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