The composition is based upon the three tonic system which divides the octave into three equidistant parts. As a start, we can solo only using the three major scales of the three tonal areas of B, G and Eb. Another possibility is to use a major pentatonic scale (1, 2, 3, 5 & 6) a 5th above each of those keys.
This solo uses the major pentatonic scale a 5th above the major chords. (The pentatonic over the Maj chord omits the root and the 4rth, which can be good notes to leave out).
However, on the V7s and II-7 V7s, I'm using a symmetrical diminished scale (H/W from the root of the Dom7th chord). The Sym Dim scale used over the II-7 V7 may sound a little out but it can create interesting lines in the context of the II-7 V7. How "out" it sounds depends on the specific notes in the Sym Dim scale that are chosen and emphasized.
Text continues in the downloadable pdf file below:
Text continues in the downloadable pdf file below:
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