ExamplE1 Full Solo 1: BLUESY Swinging 6/8
Cd track 70
[Bars 10-13] There’s a neat ‘five against three’ grouping to the Pentatonic line in bar 10, followed by a descending major 7th intervallic melodic cell in minor 3rds against d7#9 derived once again from Half-Whole. Henderson is a master at balancing language from opposite ends of the spectrum, so in bars 12-13 we see a basic Pentatonic line answered with hip d7 Altered phrase based around the two major triads that inhabit the Altered scale from the and b6th (Ab Bb degrees and respectively). [Bars 14-17] Our second chorus kicks off with a G9#11 arpeggio straight out of (r-2-3-#4-5-6-b7), the lydian dominant mode followed by more conventional chord tone-based ideas.