Here is another related question...modulation in GD stuff.
I used to love the way Jerry would lead us down a mental path to tension/resolution in leads. I remember on RFK tape I had where he darkened the solo, moved within the dark feeling to an almost Spanish interval, then resolved back to the bright happy tonic sound.
It seems that you can play any mode over a major chord. I study with a jazz guy, and I can't seem to get a straight answer on this. As you move toward Aeolian, Phyrgian, Locrian ...some of those note choices get really challenging to the ear. But if my rhythm guy is playing a vamp in A (for example) and I try these tonic travels they only work in a limited fashion. Mixo - the flatted 7th sound ok. Dorian - The flatted 3rd, now is really challenging.
It seems as though this darking is less challenging to the ear if led by the rhythm player. For example if the vamp is a I, IV, V....and the rhythm player moves to a II, V, I....then in the case of the Amaj vamp, we've just added a Bm, and the V can almost always be subbed for a V7. Now those same A Ion notes begin to sound dark for the lead.
This is a big topic I realize. I'm just looking for a tidbit to clobber the jazz teacher into helping me craft more tension in lead playing.
Thanks
M
I used to love the way Jerry would lead us down a mental path to tension/resolution in leads. I remember on RFK tape I had where he darkened the solo, moved within the dark feeling to an almost Spanish interval, then resolved back to the bright happy tonic sound.
It seems that you can play any mode over a major chord. I study with a jazz guy, and I can't seem to get a straight answer on this. As you move toward Aeolian, Phyrgian, Locrian ...some of those note choices get really challenging to the ear. But if my rhythm guy is playing a vamp in A (for example) and I try these tonic travels they only work in a limited fashion. Mixo - the flatted 7th sound ok. Dorian - The flatted 3rd, now is really challenging.
It seems as though this darking is less challenging to the ear if led by the rhythm player. For example if the vamp is a I, IV, V....and the rhythm player moves to a II, V, I....then in the case of the Amaj vamp, we've just added a Bm, and the V can almost always be subbed for a V7. Now those same A Ion notes begin to sound dark for the lead.
This is a big topic I realize. I'm just looking for a tidbit to clobber the jazz teacher into helping me craft more tension in lead playing.
Thanks
M
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