ok, I spent a little time with Etown "eyes" over the weekend. I'll post a vid, but here are some observations, esp. the phrasing:
1. getting fluid with the scales is a good baseline. I think pete identifies them generally as the Ionian for the Emaj7 and the Dorian for the Bm
2. there are "curls" and turnarounds within the scales. very very important
3. some walkups end with a chromatic riff. this takes a little finesse with the timing.
4. using the flatted 4th as a transition in the Bm Dorian adds a nice feel to it
5. you can get some sweet submelodies by playing different notes within a chord (not an arpeggio per se). this is more evident in the "without a net" version of eyes.
the wife isn't impressed, but I'll get the weekend chores done this week.
peace out,
terry
1. getting fluid with the scales is a good baseline. I think pete identifies them generally as the Ionian for the Emaj7 and the Dorian for the Bm
2. there are "curls" and turnarounds within the scales. very very important
3. some walkups end with a chromatic riff. this takes a little finesse with the timing.
4. using the flatted 4th as a transition in the Bm Dorian adds a nice feel to it
5. you can get some sweet submelodies by playing different notes within a chord (not an arpeggio per se). this is more evident in the "without a net" version of eyes.
the wife isn't impressed, but I'll get the weekend chores done this week.
peace out,
terry