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Discussion Starter · #1 ·
been working on V7 - IMaj7 resolutions wondering what people think when moving from the V7 to the IMaj7

say it was G7 to CMaj7

do you think of G7 altered scale to Cmajor scale or C# mixolydian to C Major or even G h/w diminished

looking at the notes of G ALT and C# mixo they are similar only differace is the natural 7(F#) (over G7)in C#mixo

the h/w has a natural 5th and 6th

C# mixolydian

C# D# F F# G# A# B

#4 #5 7b #7 b9 #9 3

G ALT

G G# A# B C# D# F
1 b9 #9 3 #4 #5 b7

G H/W

G G# A# B C# D E F
1 b9 #9 3 #4 5 6 b7

i'm trying to play more modern lines instead of just the basic chord tones on the dominate 7th chords.. what is a good way of hearing these tones on the 7th chords the #9 b9 #5 #4.. i know it depends on the alteration of the chord but i'm speaking from a saxophone point of view and want to play something modern and then resolve to the major

any ideas that would help

thanks
 

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I use all 3 concepts that your referring to. Depends on what I'm thinking they all work great as long as you resolve them correctly. It's best to not get locked into one way of thinking about things so by thinking about the V7 in 3 different ways will give you more options. If you want to get away from scales you can also create triad pairs that sound great. Ex. C#/B+ over G7......
 

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Consider this:

D-7 | G7 | C | C |
D-7 G7| D-7 G7 |C | C |
D-7 | Db7 | C |C |
D-7 Db7 |Ab-7 G7 | C | C |
D-7 G7 |Ab-7 Db7 |C | C |
D-7 | Bb7 | C | C|
D-7 |F-7 Bb7 | C | C |
D-7 G7 | F-7 Bb7 | C | C |
D-7 | E7 | C | C |
D-7 |B-7 E7 | C |C |
D-7 G7 | B-7 E7 | C | C|
D-7 Eb7 |Ab B7| C | C|
D-7 Eb7| Ab7 Db7| C | C|

... need I go on? ...And I haven't even gotten onto the half-diminished and altered dominants yet! My point is -- You can do anything you want, as long as you know what it is you're doing.

My advice is to pick one or two you like and master, master, master them. I don't need 10,000 patterns when a dozen or so will do just fine.
 

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Essentially you're talking about going outside and resolving. The more you practise it , hopefully the more you will hear it and the less you will think about what scale you're playing.
 

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jtrey said:
looking at the notes of G ALT and C# mixo they are similar only differace is the natural 7(F#) (over G7)in C#mixo

C# mixolydian

C# D# F F# G# A# B

#4 #5 7b #7 b9 #9 3

G ALT

G G# A# B C# D# F
1 b9 #9 3 #4 #5 b7

G H/W
If you raise the 4th on C# Mixolydian, giving you C# Lydian Dominant, you'll find that it has all the same notes as G "Alt" (Super-Locrian, Diminished Whole-Tone), just starting in a different spot. Speaking of starting in a different spot, the same set of notes played from B gives you B Lydian-Augmented, a nice way to avoid focusing on the root of the G7. As Steve mentions, triad pairs can get you out of a scalar rut (i.e. G/F+, C#/G, etc.), as can pentatonics (C# pent gives you #4 #5 7 b9 #9). You can also try synthetic scales, i.e. "normal" scale with note(s) changed, for example A pentatonic, but with a b6: A B C# E F, played over G7 gives you 2 3 #4 6 7

Have fun!
 

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Don't get too hung up on picking the `right' scale. You obviously have some sound in mind that you want to get... so try and `transcribe' what's in your head.

S.
 

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jtrey said:
been working on V7 - IMaj7 resolutions wondering what people think when moving from the V7 to the IMaj7
By looking for half-step resolutions? Maybe that's a bit simplistic, though.
 

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All the scales and various harmonic materials, etc., matter, but, when I'm playing, I'm thinking thematically. The harmony, stated or implied, is what I'm playing off of, not what I'm playing.........daryl
 

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Don't think of any scales. Just play a melodic line and make sure it resolves. The key, IMHO, is tension and release. If you resolve properly you really can play anything you want.
 
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