Substitute arps SOS...

Lango-Django

Hey, Jay, try this note, maybe you'll find it just crunchy enough...

:idea: -just holding an F# note over the Cm chord family (Cm, Fm, G7) is a really cool dissonance, n'est-ce pas?

Well I like it anyway... OK, now your job is to explain why!

Jazzaferri

My take, the F# on Top of a Cm triad ( the flat 5) is a blue note and depending on the voicing sounds in root position dark, 1st inversion unsettled, 2nd inversion unstable wanting a root bass note.


F# on top of Fm makes a flat 9 with out the 7 root position unstable wanting to resolve down a semi

1st inversion a cruchier version of same needing bass F tending toward some sort of weird Ab 7, 2 nd inversion with F# in top dark and crunchy, but triad had to drop an octave if kept up becomes a cluster chord

On G7 which is 4 note chord trying to keep around a 6th below the F# in root position the top interval is a minor 9 and a dark but very crunchy sound, would easily overwhelm a melodic statement. In first inversion dark and unsettled , a strong statement but not pushing too hard anywhere

Second inversion open and slightly unsettled to cool. In third inversion lots of tension to resolve F# down to F

IMO pedalling an F# through that progression, depending on how the chord voicings go could be received by an audience as anywhere from outside the box but cool to waaaaaay out there really really crunchy.

F# is not diatonic to any of the chords listed so would definitely be included as a handle with care note in my book in that situation. Generally handle with care notes pedalled through a progression is not easily understood by most people, musicians included.

Bones

We need an exploding head emoticon....

<<< >>>

Jazzaferri

Why...is your head hurting :?:

Simply sit down at the piano and listen, took me longer to write than do.

Or tune your high e up to F sharp and work your way through guitar chords. Voicing sound quite different...

Or just play the chords adding in the note but then you'd need the exploding head icon.

For those not familiar with inversions for cm

Root. C Eb G. 1st inversion. Eb G C 2nd inversion G C Eb

Simple rule for inversion take the bottom note of chord and put it on top. :shock:

Lango-Django

Thanks, Jay, I knew that sort of musical theorizin' was right up your alley.

I once played in a band with an alto sax player who was a master of holding a single note over the changes. While he didn't pick the right note every single time, his batting average was very good.

And when he got it just right, it generated a LOT of musical tension.

I just wish us guitarists could sustain a note that long!

Jazzaferri

If I were going to sustain a note through that progression, in a gj setting and playing pretty much in the box, i would likely, if the rhythm section was playing straight up Cm, pedal a high Ab

The 6 in Cm, the 3 in the Fm and the b9 in the G7. All very standard stuff that the audience gets easily and it goes inside inside outside and back to inside if the G7 resolves to a diatonic chord.

Jazzaferri

If I were going to sustain a note through that progression, in a gj setting and playing pretty much in the box, i would likely, if the rhythm section was playing straight up Cm, pedal a high Ab

The 6 in Cm, the 3 in the Fm and the b9 in the G7. All very standard stuff that the audience gets easily and it goes inside inside outside and back to inside if the G7 resolves to a diatonic chord.

Bones

Hey Jay,

Yeah, when I try to intellectualize it I get lost pretty quickly since I don't really understand the theory/jargon. It's a limitation that I recognize in myself since I don't have any formal musical training to speak of.

Thanks for the tutorial.

Jazzaferri

I believe it was Charlie Parker who said something like

Learn all your scales arpeggios chords etc and then forget about them and just play

kevorkazito

I was just trying to make sense of everything being said here.

I'm going back to the 'kids' room. :oops:

(but I'll be back)