EXAMPLE3 PERPETUAL III-VI-II-V LINES IN G

Yet more non-stop phrasing here, although we see more of those slurs and slides we mentioned previously. From a notes perspective, all the interesting stuff takes place over the two dominant 7th chords that we find in bars 2 and 4. against E7 Philip chooses to play a line based around both C7 and B 7, both

found in the E Superlocrian or ‘altered’ scale (E-F-G-ab-Bb-C-d), while against d7 in bar 4 he plays an ascending series of tritone tetrachords, namely dadd9 (d-E-F#-a) and a add9 (a -B -C-E ). We’ll revisit this idea in a further example, so keep your eyes and ears open.