C∆7/E∆7/Ab∆7, and D7/F7/Ab7/B7 Arpeggio Inversions over an Ami vamp

[Baminated]

Below is a link to a quick 30 second demo clip I did demonstrating each arp substitution above over a static Ami7 Vamp: Psychling C∆7/E∆7/Ab∆7, and D7/F7/Ab7/B7 Arpeggio Inversions.

Check the annotations at the min/sec coordinates on the player for more details.
http://soundcloud.com/tonetaster/7-arp-psychles-in-maj-3rds

Alternate Link to the audio in the event the UNRELIABLE soundcloud link is down :
http://soundclick.com/share.cfm?id=11108037




A result of years of me trying to avoid the "butter notes", which Miles Davis is purported to have told a very young Herbie Hancock to avoid.


Here it is in PDF. Page 2 is the transcription of the audio
http://www.divshare.com/download/15872392-d41

The MAIN theory behind the ∆7 arp subs over the Ami is this: with "A" as a pedal point or "Ami" as a pad ;

C∆7 arp = Ami9 sound
E∆7 arp = Ami/∆9b5 sound
G#/Ab∆7 arp = Ami/∆7 b5 sound

The theory behind the dominant 7 arp subs over D7 is that the 135(7) tones of D7,F7,Ab7, & B7 , in total, spell out a D, F, Ab, or B half/whole diminished scale which is applicable over any one of those dominant 7's

So with "D" as a bass note or D7 as the tonality;
D7 arpeggio = D7
F7 arp = D7#9/b9
Ab7 arp =D7b5/b9
B7 arp =D713b9

With "Ami" as a tonality;
D7 arpeggio = Ami13(11)
F7 arp = Ami7b5/b6
Ab7 arp =Ami/∆13b5
B7 arp =Ami13(9)b5
The theory behind applying the D7 arp & it's subs over the Ami pad is that the 135(7) tones of D7,F7,Ab7, & B7 , in total, spell out an "A" WHOLE-HALF dim scale, which is applicable over the Ami

As an analysis, make "A" the root, then analyze what intervals of the C, E, & Ab∆7's are stacked up against the "A" bass note. Also analyze what intervals of the D7,F7,Ab7, & B7 are stacked up against the "D" bass note, AND ALSO against the "A" bass note.

A key to getting this to sound melodic more so than like an arp exercise is to keep the inversions as close as possible. Also start from 1/3/5/7's of any arp and play all 4 notes of the arp(s) of choice, yet not 4 in row asc. or desc. Another consideration is to try to keep all of the arpeggio cycles within a single octave range as much as possible.

UPDATE:
Someone on another forum inquired into my basis of using the ∆7 in maj3rds cycle over the minor chord.

MY ANSWER:
The primary idea is that C∆7/A = Ami9 as the resolution point . E∆7/A to Ab/∆7/A is Cycling the same ∆7 arpeggio in major 3rds as tension to resolve back to the C∆7. Despite that these ideas are far removed from formal diatonic harmony which the common ear expects; Consistency, &/or familiarity, &/or predictability is somewhat retained by the fact that the arpeggios are of the same ∆7 quality AND that they are cycling in maj3rds.

C∆7/A = Ami9 sound = Resolution
E∆7/A = Ami/∆9b5 sound = Tension from the b5, but is also an upper structure from A melodic Minor scale
G#/Ab∆7/A arp = Ami/∆7 b5 = Tension from the b5, but still has the notes "G#" & "C", which lends itself to an Ami/∆7 sound

So the idea is that the 1357 of ∆7 arpeggios built from the b3, the 5, & the maj 7 interval of a minor chord all have tones which work over Ami/∆7 or mi/∆7b5 tension or resolution sounds.

The reason for limiting to using just arpeggios is so the lines don't sound like scale patterns. However, connecting the arpeggios with arpeggio inversions makes it sound linear & not necesarrily like arpeggios.

[Clifford-D]

I love this stuff, glad to see someone else is in to it.

The cycle of C Ab E is a cycle of decending maj3rds.
The whole thing lays out in the circle of 5ths/4ths

.........................C
.....................F.......G
.................Bb............D
...............Eb...............A
................Ab............E
..................Db.........B
......................Gb/F#

If you look at C G D A E , that is a C major pent C D E G A

There is also an E major pent and an Ab major pent.

C D E G A
Ab Bb C Eb F
E F# G# B C#

So these three major pents give a bit more than just the major arp to play
with. All 12 tones get used as well.

C7#9 - (as a I chord)

------8-10-11-8------8--------------------------------------8
-8-10-----------11-9---11-9----12-9----11-8---10-8---------
-----------------------------11-------10-----9-------10-8-9--
--------------------------------------------------------------
--------------------------------------------------------------
--------------------------------------------------------------

Very Coltranish.

[Baminated]

cool, so let's hear some audio of it, man. I kinda like the sound of the ∆7 arps more so than the pents, though

[Clifford-D]

Originally Posted by Baminated

cool, so let's hear some audio of it, man. I kinda like the sound of the ∆7 arps more so than the pents, though

I have a crappy computer right now so audio is not easy.

[guitarjazz]

Herbieland.

[Baminated]

Originally Posted by guitarjazz

Herbieland.

This study was definitely inspired by A result of years of me trying to avoid the "butter notes", which Miles Davis purported to have told a very young Herbie Hancock to avoid.

I'll post a transcription of the lines I played in the audio if a few more post an interest in such

[weshunter]

how did you make those triangles?

[Baminated]

Originally Posted by weshunter

how did you make those triangles?

"that theory and audio is a bunch of gibberish, but damn, those triangles sure are somethin' "

Thanks a f-in' lot for asking :-)

On a mac, hit "option J" simultaneously

[Clifford-D]

Originally Posted by Baminated

cool, so let's hear some audio of it, man. I kinda like the sound of the ∆7 arps more so than the pents, though

Whatever, arps or pents, it's one and the same,

It's all symmetrical, I don't know if you look at C Ab E as an ascending aug5th
or decending major 3rds. It can make a difference.

What I like about the pents is first off, more tones to play with.
Also all 12 tones are used, the 7th arps I believe only uses 9.

That means the three pents can generate everything
arps
pents
seven tone scales
eight tone scales
other scales/ hybrids

Anyway Baminated, I like your playing and those sounds are very familiar to me.
Very cool bro

[Baminated]

Originally Posted by Clifford-D

What I like about the pents is first off, more tones to play with.

Interesting, because i am actualy trying to use less notes in favor of rhythmic considerations (not evident in the clip, but for future stuff). I have noticed that when reducing to the number of important tones, it frees up more rhythmic possibilities.

Not discounting the pents - i'd love to try that with some of the Bergonzi side slipping stuff

Originally Posted by Clifford-D

Anyway Baminated, I like your playing and those sounds are very familiar to me.
Very cool bro

Many thanks - looking forward to hearing ya soon, man

[Clifford-D]

One more thing that I find interesting with C Ab and E.

The pivit potentials between these three triads are unique in the 12 tone world.

G.....Eb....B
E.....C......G#
C.....Ab....E

Each triad has a common tone with the other triads

R > 3rd
3rd > R

That leave the 5ths that don't share anything in common with the other two triads.
G Eb B

The G is the 5th of the C triad (the key center)

That leaves the b3 and major 7th, Eb and B.
On a C7#9 vamp the b3rd makes total sense

That leaves the major 7th

And I have to split for a while so,,,,,, later

[guitarjazz]

All those sub chords are interchangeable.

[Baminated]

Originally Posted by guitarjazz

All those sub chords are interchangeable.

I would say, when we are talking an Aminor pad - but if the D7 is on for any extended period of time, the Ami ∆7 subs don't seem to be as effective to me - YET . But yeah, any of the D7 subs work in addition to the ∆7 subs over Ami pedals to my ears

[Clifford-D]

Originally Posted by Clifford-D

One more thing that I find interesting with C Ab and E.

The pivit potentials between these three triads are unique in the 12 tone world.

G.....Eb....B
E.....C......G#
C.....Ab....E

Each triad has a common tone with the other triads

R > 3rd
3rd > R

That leave the 5ths that don't share anything in common with the other two triads.
G Eb B

The G is the 5th of the C triad (the key center)

That leaves the b3 and major 7th, Eb and B.
On a C7#9 vamp the b3rd makes total sense

That leaves the major 7th

Simply put the major 7th B works because of it's strong relationship to
E major as its 5th. I don't hear it as a major 7th when mixed in the E maj pent against the C7#9, or Cma7 (Am7)

[guitarjazz]

Originally Posted by Baminated

This study was definitely inspired by A result of years of me trying to avoid the "butter notes", which Miles Davis purported to have told a very young Herbie Hancock to avoid.

I'll post a transcription of the lines I played in the audio if a few more post an interest in such

Cmaj7,Emaj7,Abmaj7... all in their respective augmented scale.
C,D#,E,G,Ab,B or whatever enharmonics whet your whistle.