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Distinguished SOTW Member
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Discussion Starter #1
You know the one: where Kenny plays into Miles's trumpet mic. A new transcription along with some commentary on what the hell's going on, found here on my Brand New Blog:

Harder Bop

All you need to do is download the PDF, and you'll play like Kenny in days!
 

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Forum Contributor 2011, SOTW's pedantic pet rodent
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"Miles becomes the funkiest and most intimidating damn mic stand you've ever seen."

"Also: overdo it and the rhythm section will start throwing stuff at you."


Excellent, Kelly!
 

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Discussion Starter #5
Thanks, Gents! Rooty: good to see ya back! Charles: your site is *always* an inspiration! Glenn: I'm using a highly-tweaked version of the Ash Music font... [EDIT:] ... on Finale.
 

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That was great! So accurate with the rhythm! I love that.
 

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Distinguished Member, Forum Contributor 2012-2015
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Great job, thanks a lot!
 

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I think that it was this solo that I was reading the analysis mentioning the use of the Major 3rd over a minor chord. I found that with the Miles Jazz/Rock of the 60's the use of the Major 3rd over a minor chord was something that was used a lot. It is quite effective in a R&B context as well. I think of it as a device. If you are playing a Dmin7, you could think that the scale would be the G bebop scale with the emphasis on F#, instead of using it as a passing tone. But I don't think in terms of the bebop scale, I think of purposely playing a major 3rd over a minor chord. I first became aware of it in Gary Bartz's playing and then found more and more artists using it. Kenny Garrett uses it with great effect. Great analysis. In regards to side slipping down a half step, I learned that trick from guitarist great Tony Janflone Jr. Another device in your bag of tricks as Benny Wallace would say.
 

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Cool, thanks!
 

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Discussion Starter #11
I think that it was this solo that I was reading the analysis mentioning the use of the Major 3rd over a minor chord.
Yeah, saxsolos, great comments! Typically I see that major 3rd over a minor chord treated almost as an ornament of the minor 3rd -- in other words, the major 3rd will typically be preceded and/or followed by the minor 3rd: it's not typically just popped out there on its own... That's how Garrett also uses it here...
 

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Yes, I agree. If you play it by itself it just doesn't work. It does resolve to the minor third. I really like using it and do as much as I can when performing.
 
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