Musical Interests?

[Jitendra Hydonus]

Thanks Mccoy. I will give these things a try when i get some time... Will let u know. I have been doing a lot of composition. i am more used to the modal scales, blues scales, pentatonic, major and minor diatonic and the harmonic and melodic minors.
Although I have been using different time signatures. 6/4,
5/4, 3/4 to 4/4 and 7/8 in some of the songs passing thru this vehicle.

That vehicle is a truck which grinds everything, you have all sorts of even and uneven times there, 7/8 is sure not an easy one to tackle and I myself would have sure problems in improvising on that.

A truck that grinds everything hah... you have quite a malignant sense of humor... lol Sometime I'll post a song I channeled called 'Fragrant Mint Tea' it's in 7/8 time. It just keeps u one step ahead!

[mccoy]

Steve, by 'grinding everything' I did nto mean destroying everything on his route, rather using all kinds of fuel (music) and turning them into mechanical (vibrtionsl) power. So the sense of humour is benevolent.

By the way, I just saw your demian song on Utube, I enjoyed that, also, good chords progressions in your impro stretches!

[Jitendra Hydonus]

B natural with a B flat scale?

In the bluesy scale I wrote in the previous post there is no B natural, although there is a A natural which sounds good especially when resolving to Bb in the last bar.

A B natural would be the second note of Balt scale, which is an option on the Bb7 chord in the first bars of a Bb blues (or in 5th and 6th bars of a F blues)

Bb-B-Db-D-E-Gb-Ab-Bb

In strict theoretical terms, the above would be a B natural melodic minor scale

Mark Levine's Jazz theory book explains it very clearly.  Melodic minor scale harmony in Bb is played on the following chords:

Bnatural minor-major (min 7+)
Db sus b9
Dmaj#5
E7#11
B minor-major/G
Ab half diminuished
Bb7 alt

I'm not so good to remember all them, I'm reading from Levine's book.

Mccoy Saving for the last two chords... your progression has an upward momentum that culminates in the Ab half diminished and Bb7 alt.

[mccoy]

Steve, that's the same thing as playing the chords in the major scale/harmony of C:

C maj
D-7
E-7
Fmaj
G7
A-7
Bdim7
Cmaj

In the previous example, it was a similar ascending sequence but the changes were into the melodic minor scale/harmony of B natural.

[mccoy]

Back to the blues scale, I found out other two examples to go outside.

1) The first is an example from a Bb blues played by Greg Osby. As far as I my ear goes, he plays mainly in Bb altered chord, that is on the harmony of B natural melodic minor . He goes on with these notes: Bb, Bnatural, Db, Dnatural, E, Gflat, Ab, Bb

I may be wrong of course, I've no good hear. You may hear him in this video, starting from 50:11, the three saxophonists play Sonny Rollins' blues, Tenor Madness, then Greg Osby plays the first impro.

<iframe width="560" height="315" src="https://www.youtube.com/embed/J0IFdrj3IO8" frameborder="0" allowfullscreen></iframe>

[mccoy]

Another way which I devised to play outside blues, Always in Bb. This has its own logic as you can see.

-First four bars in E natural altered, this melodic minor harmony includes all the notes of the dominant Bb7 chord:
E
F
G
Ab
Bb
C
D
E
-2 bars A natural altered, this melodic minor harmony includes all the notes of the dominant Eb7 chord:
A
Bb
C
Db
Eb
F
G
A

-2 bars E altered as above
-4 bars B natural altered, this melodic minor harmony includes all the notes of the dominant F7 chord:

Bnatural
C
D
Eb
F
G
A
Bnatural

The bass should keep playing the usual Bb changes, or maybe trying soem adventurous variations, but unless the Group is very tight, he-she  should keep those changes since I navigate better across my outside changes hearing the sound of the bass changing to the traditional chords.

[SpiritImage]

Since this thread is for talking about music which seems pretty general, I am thinking of purchasing a Ukelele, likely a Kamaka tenor 6 string. Nice uplifting tone.

[mccoy]

SI, While I know a little piano & sax, Steve sure knows better strings