Ex­am­ple2 Dex­ter Gordon

Guitar Techniques - - Lesson: Jazz -

An in­ter­est­ing fea­ture of this Dex­ter Gordon cho­rus is his re­peated use of ma­jor 7ths over dom­i­nant 7th chords. Gordon be­gins with a sort of four-note in­ter­rupted in­di­rect res­o­lu­tion mo­tif around each of the notes of an F ma­jor ar­peg­gio over the F7, then moves between F and Bb7 over the Bb7, mov­ing down chro­mat­i­cally and out­lin­ing Bb6 (or Gm7) on beats 3 and 4. Over the F7, he re­turns to his ini­tial pat­tern around F ma­jor, mov­ing up Cm7 in an­tic­i­pa­tion of the chord change, then over the Cm7 comes down in 3rds in C Do­rian (with a sur­prise F# thrown in) over the Cm7 and out­lines F7 and F7b9 over the F7 re­solv­ing to the 3rd (D) and 5th (F) on the Bb7. He sug­gests Fm over the Bb7 and moves up Bb Mixoly­dian, then in the next bar comes down Bb6 (or Gm7), mov­ing back up chro­mat­i­cally, then down Bb mi­nor. Over the F7 and Eb7 he plays around the F Ma­jor scale, then as­cends in D Mixoly­dian over the D7 mov­ing to G Do­rian over the Gm7 with a chro­matic pass­ing note, and out­lines C7b9 re­solv­ing to F ma­jor over the C7. On the Am7b5 he sug­gests F ma­jor and D7 al­tered, mov­ing down chro­mat­i­cally to out­line Bb­maj9 (or Gm11) over the D7#9 and Gm7.

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