Example1 Mi­noriza­tion

Guitar Techniques - - LEARNING ZONE -

There are some lovely lines here. The in­flu­ence of both Wes Mont­gomery and Pat Martino is clearly ev­i­dent in Emily’s play­ing and this is es­pe­cially clear when we con­sider how they all ap­proach dom­i­nant 7th chords.

Ab7 Ab, Rather than think about from the per­spec­tive of Remler thinks up

Eb Eb a per­fect 5th to and plays mi­nor lines de­rived from a com­bi­na­tion of

Eb- Gb-Ab-Bb- Db) Eb Eb- Gb-Ab-Bb- Do­rian ( F- C- and ‘jazz’ Melodic mi­nor ( F- C-D). The ra­tio­nale be­hind this su­per­im­po­si­tion is that the ba­sic chord-tone

Eb, Gb, Bb Db res­o­lu­tions of and (or D from jazz mi­nor) pro­vide us with the 5th, 9th and 11th (#11th with jazz mi­nor), which in Emily’s words pro­duce that, “Wes-heaven sound”.

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