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thaydon
Joined: 31 Mar 2007
Posts: 80
Location: Cincinnati, Ohio
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 Posted: Wed Jun 18, 2008 2:21 am Post subject: All Blues |
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Does anyone have an ideas on what to play over the D7#9 chord (and Eflat7#9) in all blues? Or #9 chords in general? Not so much what scale fits but how to build musical ideas using the core language.
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sincerely yours,
Todd |
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Dean
Joined: 19 Apr 2007
Posts: 287
Location: California
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| Posted: Wed Jun 18, 2008 3:29 am Post subject: |
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I really can not answer your question,,,,I would record the rhythm,,and then play around with notes that fit.If you can not record ,just play the chords one at a time and play over them.You can find what works,that way too.Someone else should jump in here and give you a better approach.
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Mark
VM Coach
Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR
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| Posted: Tue Jul 01, 2008 10:32 pm Post subject: Re: All Blues |
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| thaydon wrote: | | Does anyone have an ideas on what to play over the D7#9 chord (and Eflat7#9) in all blues? Or #9 chords in general? Not so much what scale fits but how to build musical ideas using the core language. |
Todd,
It all depends on the context (e.g. I chord in a funky blues, V chord in major or minor tune, etc). If it's the root of the key, like a C7#9 in the key of C, I prefer blues and the latitude in being able to use minor, major, and dominant blues sounds to good effect, because the chord contains both the major and minor thirds (E and Eb). To hear what I mean, check out my Blues for Kenny solo, where 6 of every 12 bars is a C7#9 chord.
However, if the #9 chord is functioning in more of a jazz context as the V chord of the key, I do a number of different things depending on how long the chord lasts. One angle is to use maj/dom blues on the root of the chord (e.g. D maj/dom blues on D7#9 in the key of G). Another is to use jazz minor language to bring out the altered tones, like C minor or Eb minor over D7#9. Of course, many times you can simply play blues off the root of the key (G or Gm) over the V chord.
Listen to both the head and solo for my Spontaneous Combustion modal original in G minor. The head is G minor blues over the D7#9. In the solos you'll hear me stretch out on the six bars of D7#9 and either use the minor superimposition mentioned above or basic G minor blues.
And finally, check out a recent solo I recorded over All Blues itself, where the purpose was experimenting in using some D diminished ideas over G7. In both choruses over the D7#9 and Eb7#9, you'll hear me playing G minor blues licks. Lots of possibilities. All for now...
- Mark
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thaydon
Joined: 31 Mar 2007
Posts: 80
Location: Cincinnati, Ohio
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| Posted: Wed Jul 02, 2008 1:43 am Post subject: |
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Thanks Mark!
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sincerely yours,
Todd |
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