EXAMPLE5 SU­PER­IM­PO­SI­TION

Guitar Techniques - - JAZZ-ROCK -

[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.

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