[Part 5a] Again, I could talk about superimposition all day and only skim the surface, so this is merely a taster of what this concept has to offer. Something that makes playing through changes a lot less intimidating is to find a convenient point of similarity from one event to the next using common tones. Our chords for this example are Fm7 (F-Ab-C-e ), followed by D 7 (D -F-A -C), and finally Dm7 (D-F-A-C). If we look closely at these notes and look for any common tones, one solution would be to take the A-A -A route. This is just one of the many (how about F-F-F, for example). Our task now is to decide which
Ab Ab Db7; kind of thing would sound best against Fm; which kind of against and which kind of A against Dm. The trick is to look at the parent scale and take the result for what you’d find within this scale. My scale choices were F Dorian for
Abmaj7th, Db Db7, Abm/maj7, Fm7, giving me an Lydian for giving me an and D Dorian for Dm7, giving me the option of superimposing A Minor, and in this case A Minor Pentatonic.