Theory Of the Month

Joe Hubbard puts the ‘super’ into superimposition. Grab this month’s theory and run with it!

Joe Hubbard delivers a tasty slice of superimposition in bass

“SUPERIMPOSITION IS A WIDELY USED IMPROVISATIONAL PRINCIPLE USED BY ALL THE GREAT JAZZ PLAYERS FROM DIZZY TO JACO, AND IS A GREAT WAY TO COME UP WITH TRANSPOSABLE MELODIC SEQUENCES”

Welcome back! Superimposition is a concept in which we take the original chord in a tune and then ‘superimpose’ melodic ideas from another chord on top of that. This works as long as the chord you are superimposing maintains the harmonic integrity of the original chord over which you’re playing. Let’s take a closer look…

Superimposition is a widely used improvisational principle used by all the great jazz players from Dizzy to Jaco, and is a great way to come up with transposable melodic sequences. If we take a Cmaj7 chord, for example, the chord scale would be the Lydian mode. If we then harmonise the chords from the root, 3rd, 5th and 7th of the scale, we’ll end up with Cmaj7, E-7, Gmaj7 and B-7. If, as we said, the original chord in the tune is Cmaj7, then the first step is analysing the notes in the E-7, Gmaj7 and B-7 to understand how those notes will relate back to that Cmaj7 chord.

The root, 3, 5 and 7 in the E-7 chord are E, G, B and D; related to the Cmaj7 chord they become the 3, 5, 7 and 9. The root, 3, 5 and 7 of the Gmaj7 chord are G, B, D and F#; related to the Cmaj7 chord they become the 5, 7, 9 and #11. The root, 3, 5 and 7 of the B-7 chord are B, D, F# and A, which become the 7, 9, #11 and 13 of the Cmaj7 chord. Got it? Good!

What makes this so valuable melodically is that by superimposing the E-7, Gmaj7 and B-7 over the Cmaj7, you’re using a combination of chord tones and tensions related back to the original chord. However, when conceiving a melodic sequence, all you have to do is think of the root, 3, 5 and 7 of whatever chord you choose to superimpose. This is demonstrated in the example below, which takes the same melodic sequence over each one of these chords and then plays all of them over a Cmaj7 chord (the superimposed chords are shown in brackets for reference). Notice how the melodic sequence is exactly the same as the original idea over the Cmaj7.

This is a useful tip when coming up with memorable melodic ideas in your solos – as when you state a melodic idea over one chord and then repeat the same idea over another, it gives the listener something to identify with. Although in this scenario the chords do not change, we give the illusion that they do, because we are superimposing one chord over the other.

Until next time, practise smart, work hard and play creatively!

Example 1