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Altered Dom Licks
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JakeJew



Joined: 30 Jul 2005
Posts: 2190
Location: Boston, MA

PostPosted: Tue Apr 18, 2006 11:19 pm    Post subject: Reply with quote

bjorn, open up a text based program like windows "notepad" or use a font where all the characters have the same width. Copy and paste the text into the post, highlight the portion you want to be in tab, and hit "code"

Code:

-Testing
--Testing
---Testing
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Bjorn



Joined: 04 Jan 2005
Posts: 1037
Location: Denmark

PostPosted: Tue Apr 18, 2006 11:30 pm    Post subject: Reply with quote

Thanks Jake, will try that tomorrow..... Wink

Bjørn
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jamato



Joined: 12 Aug 2005
Posts: 202
Location: Northern NJ

PostPosted: Mon Apr 24, 2006 1:26 am    Post subject: Great Lines! Reply with quote

Hey Guys .. these are all great/super lines! ... It would be absolutley fantastic if someone could put these all together in a pdf. file annd make it available either trhough e-mail or from a server ...
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PaulD



Joined: 18 Sep 2004
Posts: 1129
Location: Chicago

PostPosted: Wed Apr 26, 2006 2:44 am    Post subject: Reply with quote

Here's something I'm fooling around with - Minor ii-V-i keeping a common tone on top. The last chord in each set just acts as a turnaround (the V of ii or similar substitute). All the examples are in Cminor (Dm7b5/G7/Cm7/A7) . You can mix these up as well. If you follow the patterns diagonally instead of straight accross, then the top line ascends or descends depending on which direction you folow (for example, play the Dm7b5 of example 1 followed by the G7 of example 2 followed by the C minor of example 3, and the Eb9 of example 4 to get an ascending top line).

]

Paul
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JakeJew



Joined: 30 Jul 2005
Posts: 2190
Location: Boston, MA

PostPosted: Wed Apr 26, 2006 3:19 am    Post subject: Reply with quote

fun, paul, thanks!

It's like a little game.

I like those later ones...

I'm trying a few, this is giving me some good ideas (and killing my hands...yow...)

Dm7b5
45556x

G7
78876x

Cm7
86876x


stretchy stretchy
Dm7b5
10 11 10 10 8 x

Db7
9 11 9 10 8 x

C-maj7
8 12 9 8 8 x


Dm7b5
10 x x 10 8 8

G7
x 10 x 10 9 8

Cm7
8 x 8 8 10 8

hmm

Dm7b5
10 10 10 10 x x

G7
10 11 9 10 x x

Cm7
8 (10) 8 8 6 x x

Keep em comin...
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steve



Joined: 04 Jun 2005
Posts: 867
Location: oz

PostPosted: Wed Apr 26, 2006 7:31 am    Post subject: Reply with quote

Hey Paul many thanks for sharing that. I was just looking for another focus for practicing my voicings, inversions etc, other than putting them through the cycle.
Time to put this concept through some standards.

Some cool movements there too, I really dig the example 7's middle two chords. nice
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steve



Joined: 04 Jun 2005
Posts: 867
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PostPosted: Wed Apr 26, 2006 8:10 am    Post subject: Reply with quote

Come to think of it, that is a little similar (but not the same - different focus) to what I've been practising lately.

This was a practice exercise that was triggered off by our own ed norton, with the idea being that you go through chord inversions and focus on the intervals within the voicings. Then manipulate a specific tone or tones.

Eg, go through all of your minor inversions on all string sets and 1. identify the 7th, then 2. move it back one fret to create a m6. Then of course you could look at them as dom 9th chords instead, or of course m7b5's.

Here's a tabbed eg. Go through dom 7 inversions, identify the 5th and then sharpen it to create a 7#5.

The second line does the same only it raises the 5th to create a #5 and flattens the root to make a b9. You may notice that the new chord shape is a m7b5 (or m6 or dom9) chord shape. In fact this type of chord shape (substituion if you will) relationship starts to become quite exciting the more you delve in.

Code:
  G7   G7#5      G7  G7#5     G7   G7#5
-------------|-------------|-----------|--
---8---8-----|---6---6-----|--15---16--|--
---7---8-----|---4---4-----|--12---12--|--
---9---9-----|---5---5-----|--15---15--|--
---8---8-----|---5---6-----|--14---14--|--
-------------|-------------|-----------|--



 G7  G7#5b9   G7   G7#5b9
------------|---------------------
---8---9----|---6---6--------------
---7---8----|---4---4---------------
---9---9----|---5---6----------------
---8---8----|---5---6-----------------
------------|--------------------------



One of the latest things I realised was if I took my regular major 7 inversions and flattened the 3rd............aha! Minor/major 7

I'm right naive me. But happy. Very Happy
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steve



Joined: 04 Jun 2005
Posts: 867
Location: oz

PostPosted: Wed Apr 26, 2006 10:35 am    Post subject: Reply with quote

erm....................you might want to try sharpening the root to create the b9 mentioned in the post above. Funny, but it works a whole lot better.

What day is it?
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PaulD



Joined: 18 Sep 2004
Posts: 1129
Location: Chicago

PostPosted: Wed Apr 26, 2006 12:24 pm    Post subject: Reply with quote

Jake, I might need an extra finger to play some of those Shocked Maybe I can pick one up at a second-hand store (rim shot) Laughing . They sound great though. Thanks! You're right, it's like a game. You can come up with tons of variations. This stuff is really good for chord-melody as well as comping.

Steve, that's excellent stuff. Very useful. And yes, you'd have to flatten the root quite a bit for it to become the b9 Laughing

Paul
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ed norton



Joined: 03 Nov 2005
Posts: 762

PostPosted: Fri Apr 28, 2006 12:48 pm    Post subject: Reply with quote

Steve for me to inspire You means the world, I'll work those out. Wow that's inspiring. Paul like I said when You speak we listen, thanks excellent stuff. There's Enough great stuff on this thread to keep a person real busy.
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ed norton



Joined: 03 Nov 2005
Posts: 762

PostPosted: Mon May 01, 2006 4:01 pm    Post subject: Reply with quote

Steve and Paul that stuff is awesome. I worked em' and applied em', continued em' ect... It would take to long to explain what I learned this morning. You guys are ballsy. Paul I worked Yours through the rest of C minor. I'll write out the chords I came up with later. Your subs inspire me to get ballsy with the choices. Great stuff guys.
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PaulD



Joined: 18 Sep 2004
Posts: 1129
Location: Chicago

PostPosted: Wed Jun 07, 2006 11:54 am    Post subject: Reply with quote

Some more chord movement stuff...

This is the first 8 bars of "All the things you are".

In example 1, I'm starting with an F on top and ascending the top note of each subsequent chord by either major or minor 2nds

In example 2, same thing (ascending by 2nds, just starting with a G on top).

In example 3 I'm ascending the top note by minor 3rds

The chords listed under the examples are the original chords, not the resulting chords. They're not all winners, but some interesting stuff comes out when you try this. Also, when you work out lines to go over the resulting chords and play them over the original chords, you get some very cools sounds.



Paul
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ed norton



Joined: 03 Nov 2005
Posts: 762

PostPosted: Thu Jun 08, 2006 1:10 am    Post subject: Reply with quote

That inspired a couple hours of complete madness, but fun nonetheless. All examples sound best with bass notes, great counterpoint which is what really gets me as a listener.. Ok then I worked common tones and kept getting a major 7 Sharp 11 on a couple chords. Found some more cool connections. total insanity, you are an original. a couple weird pulls and I had to double the third in those maj 7 chords with the sharp 11 on top. either that or make it maj9#11, but that was just so i could hear it better. the dom flat9's with the 13 on top have a weird pull especially on the G7, but it sounds very interesting. my favorite line is dm root on top, g7flat9 #5 on top, C maj7 third on top (ex 1). with the bass that sounds so sweet. Your examples always inspire allot of madness. the g7flat9#5 comes from a common innversion of C#9.
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ed norton



Joined: 03 Nov 2005
Posts: 762

PostPosted: Thu Jun 08, 2006 1:37 am    Post subject: Reply with quote

some I can't do with bass notes so i adjusted and cheated a bit.
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steve



Joined: 04 Jun 2005
Posts: 867
Location: oz

PostPosted: Thu Jun 08, 2006 2:17 pm    Post subject: Reply with quote

Ok here's a couple of examples creating lines using two triads over a given chord. I'll just write the chords/triads out 'cause you have the audio here:

DT1

Code:
Chord Prog:        Gm         | Em7b5    A7b9    | Dm    G7    | Bb7    A7    | Dm  ||

Triads employed:  C D+        |  Db  Eb          | G  A+       | Gm  A+       |     ||



http://media.putfile.com/double-the-triad-1


DT2

Code:
Chord Prog:       Dm          | Em7b5    A7b9    | Am7b5    D7b9    | Gm    ||

Triads employed:  G  A+       |  A  Bb+          | Ab  Bb+          |       ||


http://media.putfile.com/double-the-triad-2


There's a life time of work in this stuff.

[Edit] Oops, forgot to mention, these lines are Walt Weiskopf's not mine.
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