‘out of SpaCe’

Guitar Techniques - - PLAY: JAZZ -

The ‘Coltrane’ chords are a c∑lock set of res­o­lu­tions go­ing around the o1f0key9s in­10a d9es­1ce0nd­ing pa8t­tern o8f

long∑II-V-I ma­jor 3rds, usu­ally in place of a and tak­ing the form8 o1f1three key cen­tres a ma­jor 3rd apart. So, in Bb we may be­gin as we might usu­ally ex­pect with Dm7, but be­fore we hit F7 we’ll go via the key of Gb (in this case with V7

d©oÈ an¼ to I: Db13 to Gb­maj7), then down a ma­jor 3rd to D (again via a V7 to I: A7 to D) anEd fi­nally wn otSh­weirn­m­ga­jor 3rd to BbC,bmu7t nat­u­rally by our in­tenBded but now rather late F7.

vaÏ orig­i­nal­lyjÏoä th&e riaÏ tÏhis eXABm­pLe 4b i vi ii v wiTh A tion n ideaAGis ‘Tritone’ I-VI-II-V idea. We sub­sti­tute all the chords bar the I with a ma­jor 7th six frets away, so that our ini­tial Bb­maj7-G7-Cm7-F7 be­comes Bb­mEaj7-Db­maj7-Gb­maj7-Bmaj7 be­fore usu­ally re­solv­ing down a semi­tone to Bb. Ma­jor Te­tra­chords are four-note struc­tures (R-2-3-5) closely re­lated to Pen­ta­tonic scales but given the eighth-note na­ture of jazz lines, of­ten with four notes per chord, these can be used to spell a chord our more ex­plic­itly. HereGwe see them in their most ba­sic form.7 eXADm­pLe 4C hALf-whoLe sCALe w1i0Th jAzz CLiChés: Half-Wh7ole8 sym­met­ri­cal di­min­ished scale (1 fret, 2 frets, 1 fret, 2 etc) is a great choice against a dom1in­0ant 7th when you’re look­ingB­tom­care­ja7te a10­sound9tha1t

those im­por­tant chord tones (R-3-5-b7, along w10ith na6­tu­ral 6) and colours this with some slightly dis­so­nant ex­ten­sions (b2-#2-b5). Its sym­met­ri­cal na­ture means you can cy­cle a line up or down in both b3rd (three frets) and b5th in­ter­vals (seven frets). The scale and phrases here are de­rived from the Bb Half-whole tone against a 13b9 tonal­ity anBdm­ca6n/7bCe­mu6s/e7d in both non-func­tion­ing (static) and func­tion­ing (V7 to I) sce­nar­ios. eX­Am­pLe 4D AL­TereD sCALe in Con­TeXT: We look to mode VII of Melodic mi­nor for this idea, giv­ing us the ÏSupÏerl­noÏ crian mode, oth­er­wise known as the ‘Al­tered’ scale (R-b2-#2-3-b5-#5-b7). This sound is usu­ally used over a V7 to I res­o­lu­tion, where each of these ad­di­tional ten­sion notes (b2/#2, b5/#5) at­taches it­self to one of the notes in the des­ti­na­tion home chord. In this in­stance we ini­tially see just the in­tended scales, form­ing a pat­tern of in­side (or non-al­tered), out­side (al­tered) and fi­nally in­side again for C Do­rian, F Al­tered and Bb Io­nian or Ma­jor scale re­spec­tively. The fol­low­ing line shows this tran­si­tion from scale to scale in a mu­si­cal sce­nario. Take note at how, once a6­gai7n, smooth con­nected v5oice lead­ing from scale to scale plays a big part in the be­liev­abil­ity of the lines.

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