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
Most Users Ever Online: 41
Currently Browsing this Page:
Guest Posters: 6
Newest Members:lucagianassi, mirandacarlos64, vjazz251, joechiu, Alonian, kenneth.ojutkangas, domilo, jamiecrowle, NickBennett, Carlo_Garella