Your line of the week 57 is a blues scale over a Bb7 chord.
Using your 212121 hybrid picking technique, I have been shedding the blues scale in a slightly different context, over certain minor seven chords. For example, in a ii-V-I sequence, say D min7 – G7- Cmaj7, I have been playing – over the Dmin7 chord – a D minor blues scale (i.e. D, F, G, Ab, A, C) which renders the root, minor 3rd, 11, #11, 5, b7. (Over the G7, I might play tones from the altered scale; maybe Lydian over Cmaj7.)
Regarding the blues scale over Dmin7, some might say that the #11 is a non-diatonic, non-harmonic type of avoid note. Others might call it a “blue note.” When you literally just play the blues scale sequentially, the #11 can be easily justified as a passing tone. To me, the #11, sounds really good standing alone, and I don’t think it even needs resolution. But that’s just my subjective opinion right now.
What do you think? Do you like the sound in this context?
September 1, 2012
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