Discussion in 'Playing and Technique' started by dhdfoster, Nov 7, 2018.
I'd play C minor stuff. Then G7 stuff.
And it'd sound ok. Not great, but ok.
What is your stuff for each of those chords?
I was just playing on these chords and I used the Ab on the G chord to the A on the C chord quite a bit. (b9 to 13th) I dig that particular 1/2 step resolution.
Well, as usual, @JonR has already laid it out as well as anyone can, really. But since you asked, and because my post above was a bit flippant and uninformative:
Anything with a C and an Eb. Emphasize chord tones, but I like the D. Its my buddy. I also like using the B leading tone. Actually any note 1/2 step below a chord tone. Use them for color and transitions but occasionally hang out on them longer than expected, for tension and interest.
But mostly, make decent melodies with motivic development.
I know my scales but tend to think in terms of interval relationships to the underlying chord.
Anything, but emphasize the B and all the other tensions leading back to Cm. Because that’s what dominant is all about.
Give me 15 minutes. Ill give an example of that sound I like.
Here you go @Bluesful
This is what I was messing around with yesterday. I tried to really spell it out right away. Really just melodic minor, but I like this sound. Short clip, lunch break and back to work.
My approach would be c minor pentatonic (with maybe some Dorian notes) over the c minor and g major pentatonic (with the F thrown in for the flat 7) over the g7. Then play with the resolutions between the 2 chords (B to C, Eb to E) sometimes.
I'd probably just learn Grady Martin's licks and solo, and play those, since it's a cover tune.
I'm not that familiar with the rockabilly genre though - just assuming it works like rock music, where listeners kind of expect you to play the solo on the recording.
I did, and do!
The Wayne Walker original with Grady Martin on guitar is a classic, but I also really like this version, which has a somewhat different feel:
And this more recent punked-up version is worth checking out too:
I dig it.
in the end, there's 12 notes. I think I'd use all of them.
Huh, now that I actually play it, that doesn’t work so well. C harmonic minor works better over the G7. I guess I have a naive approach to this kind of thing.
Here’s an idea (courtesy Chuck D’aiola), kind of a shortcut to what you’re saying. Play C minor pent over Cm ad then C minor pent but replacing the C with a B (so B Eb F G Bb) for the G7.
Depends on the tonality I want - certainly C harmonic minor is a safe option, though unless I really wanted *that* tonality I’d likely just be using Cminor over the Cm and then raise the 7 over the G(7).
Given that it’s rockabilly, though, Bb over the G7 will work well for a bluesier sound (though likely with the leading tone used when the voice leading of the melody warrants it), and of course some diminished runs would fit in great.
I think suggestions here are getting away from what the tune is stylistically and getting lost in a math equation unrelated to the tune.
Well, C harmonic minor is the obvious choice for G7 in key of C minor, because G7 is - er - the harmonic minor V7 chord. I guess you could say it's naive to go for the obvious choice; or you could say it's thoroughly sensible (especially if your ears agree).
The only reasons not to go for HM would be (a) it sounds too "Spanish, (b) it doesn't sound jazzy enough, (c) it disobeys jazz theory rules about "avoid notes". If none of those things bother you (they sure wouldn't bother me), who cares?
The choice on the Cm is maybe more flexible. Natural, harmonic, melodic or dorian could all work - even or two more outside choices. The issue might be, how different do you want it to be (if at all) from the G7 scale? Dorian would be the most different (two notes) from C harmonic minor. C harmonic minor on both chords would exaggerate that "Spanish / gypsy" vibe - which might be quite cool on a rockabilly tune.
Melodic minor on both (as Tag demos) would also work - again because it contains all the chord tones of both chords. (Neither chord contains Ab or A, so that choice is up to you and your ears.)
Yes - that's the dead hand of jazz theory...
"Jazz theory" allows you to do what ever you as an individual are hearing. No limits.
Maybe I am taking you wrong, but it seems you are saying "jazz theory" limits you. Thats the farthest thing from the truth, and CST is NOT jazz theory!!!! Maybe "modern jazz" theory, but sure as heck not straight ahead jazz theory! The traditional guys constantly broke every CS relationship as you know!