Reg's Thread...

live at the speed of Jazz

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Reg's Thread... live at the speed of Jazz

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Reg

06-30-2012, 04:52 PM

Reg's Thread... live at the speed of Jazz

So here we, or at least Here I go... I've been asked to start a somewhat general thread about jazz, really more to the point, Playing Jazz.
I have as much expertise as most with traditional as well as jazz theory and harmony, at least well enough to discuss anything music related.
Obviously I have personal opinions, but that tends to happen when your involved with something for way too many years. I'll really make an
attempt to make posts interesting and helpful... and try and keep the BS to a minimum.
What I really would like to do is get into playing Jazz, becoming aware of different concepts and their applications... This will involve posting lots
of musical examples. I do have years of professional experience performing and can cover fairly well...
Anyway should be nice ride... and you will get insight of how I play with examples and explanations of how and why I approach playing.
Reg

paynow

06-30-2012, 04:57 PM

Bring it on brother. I look forward to it.

gingerjazz

06-30-2012, 05:01 PM

Hey Reg,that is very kind of you man,i will look forward to this.You seem to be a very giving person like me,i only wish i had more to
give.Peace.

MarkRhodes

06-30-2012, 05:11 PM

Looking forward to it, Reg. You know, you talk about forms, and how songs are made of parts---maybe you could do a segment on the most
common forms that a budding jazzer must master. (Just a thought.)

Franklin52

06-30-2012, 05:11 PM

Great Reg, thanks for your effort, I look forward to it too.

mr. beaumont

06-30-2012, 05:23 PM

Alright, got this one as a sticky...looking forward to watching it develop.

I'd like to hear you talk in detail about blue note harmony, as i think i have seen uou call it...

jster

06-30-2012, 07:22 PM

Thanks Reg. ;)

AmundLauritzen

06-30-2012, 08:07 PM

What a selfless and generous act, especially considering the level you play at and your knowledge!
I'd like to hear about how you analyze tunes for improvisation. Do you play from chord forms? Thinking scales? Fragments? If you have a visual
or cerebral approach to navigating the fretboard etcetra.
I'd also like to hear how you approach chord melody. Your process for arranging melodies and a bit about your personal "palette" of extensions
and alterations that you find pleasing to color the chords with.

AlsoRan

06-30-2012, 08:57 PM

Awesome.

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JakeAcci

06-30-2012, 09:31 PM

Cool, I am looking forward to it.

Helgo

07-01-2012, 04:15 AM

nice :)

0zoro

07-01-2012, 05:27 AM

This has obviouly gotten a lot of attention and is just a day old! I cant agree more with the comments above, and am looking forward to your
iniative Reg. Thank you!

NSJ

07-01-2012, 09:45 AM

Very cool and very much appreciated.

Reg

07-01-2012, 09:49 AM

Whow... thanks all... I'll get a few things together this afternoon and start posting...

MarkRhodes

07-01-2012, 10:27 AM

Can't wait!

marshall

07-01-2012, 07:17 PM

Reg;this is going to be great.I love the way you play and teach.Thank you man,cant wait.

richard vandyne

07-01-2012, 10:33 PM

teaching
Reg- Got to make this unanimous. We can,t hardly wait . SEND US THE BILL ha ha

guitarplayer007

07-02-2012, 08:59 AM

Awesome, i'm going to learn alot. Wonder if you show examples of voicing leading for inprov or patterns we can practice to hear the changes
othen just arpeggios.
Thx
Ken

Reg
I'm going to start these posts in sections... they will all tie together. You need to understand where I start from, my basic
references.

07-05-2012, 12:15 AM
1 Attachment(s)

Even though I'm going to begin with technical BS, fingerings, chords, scales, arpeggios... You need to understand the concepts, both actual
playing as well as approaches behind that playing.
So there are levels of playing as well as levels of harmony/theory approaches... your level of physical skills and your level of understanding what
your playing.
1) I'll start with fingerings... methods of organizing your fingers with all aspects of playing... I have a base fingering system or my default
starting point.
2) Through that fingering system, I'll get into scales, arpeggios etc...
3) Chords, how I comp...
4) I use the same methods or systems of organization... "reference, relationships and development" for almost all aspects of my playing.
5) I'll have to get into forms, rhythmic concepts and what reading and playing jazz charts is... not simply what's notated.
There are more skills and we can get into them as they come up...
My harmonic/theory approaches are simple, use of Modal interchange, use of Blue notes harmonically, Modal concept approaches and use of
Melodic minor non-functionally. There's actually more... but it's very standard.
An example... I'm soloing over Gmaj7 to Cmaj7...
My starting point is diatonic... Ima7 to IVma7...

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Next relationship could be... Function relationships or function subs;

Gmaj7... access to VI-7, then III-7
Cmaj7... access to II-7, then VI-7
Now I have choice of developing those subs, through modal interchange, blue notes, MM etc... lots of choices.
Or I can introduce more subs through different methods... tri-tone, approach, sub of subs, Related IIs or Vs... implied or deceptive relationships
for sources of subs. Other reharms etc... and then start developing through my basic jazz tools for developing relationships...
Every note I play represents a complete harmonic structure... On that Gmaj7... if I play 8th note line... starting on 2nd string 7th fret... F#, G,
1st String, 7th fret... B. 2nd string... 8th fret...G, F#
F# G B G F#. Harmony or what each note implies harmonically could be, F#ma9, Gmaj9, B-7, F9, E-9 all for that original Gmaj7 chord... with
those notes as lead line...
X 10 7 7 7 X
X 11 8 8 8 X
7X7777
X8788X
X7577X
Anyway this aspect of my playing, how I approach, will if nothing else help you understand how you play... everyone will get something out of it.
But I do need to start at basics.. with out a solid mechanical method of fingering and understandings of what your playing...you'll hit walls when
tempos get up.

1) Fingerings... I'm a position player, I base all my fingerings or how I see and hear and get out what I hear from positions. (1st finger
determines position).
I use different fingerings to help imply different styles. Same notes played in one position have a jazz feel, while when played with a different
fingering will sound like rock, blues etc...
I base all my fingerings off 6th string roots and use 2nd finger for those roots...which creates all 1st finger stretches. This is my starting point of
reference... My mechanical method of feeling and not having to look at the neck to hear or see where I am. It works well for me.
My reasoning was... my 2nd finger is the strongest, and my 1st finger has the most mobility... which lead to 2nd finger as base and 1st finger
for stretches.
There are other fingering... 1st finger, and 4th finger based and some 3rd, 4th finger stretches or combinations of 1st and 4th, hybrids and
special purpose etc... I do use many of those. But they are all used in reference to my 2nd finger base starting point.
Everything I do and play in music has a beginning, a starting point, a reference. From there I have methods of using, creating and developing
relationships. This doesn't mean I always go through the process of relating to the beginning... I've trained myself... and my instincts, I trust
them. My reactions even when spontaneous are really somewhat organized.
So I'll go through and make examples and charts of fingerings and make short video of hand positions etc... maybe wait on the vid for better
material.
I somewhat use the same mechanical system for comping...
I use root 6 or 6th string root chords along with Root 5 and root 4. I also see and can use root 3 chords but not much. Those are my starting
points... references for voicings and harmonic development.
I usually just voice my lead line, the top note, or have line going on in bass notes. All with reference to my position and what approach I'm
using, same with soloing... I don't simple hear a line and play it. I hear the line in context with a harmonic approach. Just as you hear a melodic
line or chord progression. What harmonic approach(es) I'm also hearing have influence on the melodic line or chords I'm referencing and
developing.
This fingering and mechanical references may be a little boring at first, at least I hope so, but my approaches for actually comping and soloing
won't be boring. They will help you understand different systems of playing the same collection notes with different implications.
Best Reg

JazzFanatik

07-05-2012, 02:09 AM

Reg, thanks AGAIN for all the information you just give to us. Please know that there are a lot of ppl on here that greatly benefit from it and
appreciate the information and wisdom bro. That's real talk brotha :)

JonR

07-05-2012, 05:12 AM

Quote:
Originally Posted by Reg
I base all my fingerings off 6th string roots and use 2nd finger for those roots...which creates all 1st finger stretches. This is my starting point of reference... My
mechanical method of feeling and not having to look at the neck to hear or see where I am. It works well for me.

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My reasoning was... my 2nd finger is the strongest, and my 1st finger has the most mobility... which lead to 2nd finger as base and 1st finger for stretches.

Lots of great stuff above, but I just thought I'd highlight this excerpt, Reg.
I like that logic. I realise you use other fingerings (as I do), but I don't often think of working this way.
But it ties in with what I'm always encouraging students to do (at a way lower level than we're talking here!): to think about balancing their fret
hands at the centre, as it were (around the middle finger). It's far easier to stretch an index back than it is to stretch a pinky up.
For beginners especially, the pinky needs all the help it can get, and I've found it helps (with chord shapes or scales) to think from the pinky
back, rather than the index up (which is the instinctive way). Ultimately it ends up with a balance around that middle finger, which makes the
biggest stretches more comfortable.

ColinO

07-05-2012, 09:30 AM

Quote:
Originally Posted by Reg
I base all my fingerings off 6th string roots and use 2nd finger for those roots...which creates all 1st finger stretches. This is my starting point of reference... My
mechanical method of feeling and not having to look at the neck to hear or see where I am. It works well for me.
Best Reg

Please excuse this if it is a stupid question. I am a pretty decent blues (not jazz blues - blues blues) player and have been trying to get a handle
on jazz for about a year so am approaching this from a little left of left field.
Are you saying that, when approaching a Gmaj scale I'm going to mostly see your hand in second position and when playing an A Dorian, you'll
be in 4th position? Or are you saying something else? I have spent considerable time learning a lot of scales in a lot of positions, and would
hate to think I have been exerting effort that could have been used doing something else.
I'm half kidding of course and understand that knowledge of he fretboard is important but I find simplifying things attractive.

Reg

07-05-2012, 10:14 AM

Quote:
Originally Posted by ColinO
Please excuse this if it is a stupid question. I am a pretty decent blues (not jazz blues - blues blues) player and have been trying to get a handle on jazz for about
a year so am approaching this from a little left of left field.
Are you saying that, when approaching a Gmaj scale I'm going to mostly see your hand in second position and when playing an A Dorian, you'll be in 4th position?
Or are you saying something else? I have spent considerable time learning a lot of scales in a lot of positions, and would hate to think I have been exerting effort
that could have been used doing something else.
I'm half kidding of course and understand that knowledge of he fretboard is important but I find simplifying things attractive.

Yes, I start with Gmaj from 2nd position, and A min, Dorian starts from 4th position... with 1st finger stretches.
Generally most Blues and Rock players play Amin Dorian from 5th position with 4th finger stretches or with change of position. That same 5th
position fingering with change to 6th or 13th, flatted, is also used for nat. min. and also Cmaj. They tend to stem from use of pentatonic's and
open position playing fingerings.
Reg

ColinO

07-05-2012, 10:33 AM

Quote:
Originally Posted by Reg
Yes, I start with Gmaj from 2nd position, and A min, Dorian starts from 4th position... with 1st finger stretches.
Generally most Blues and Rock players play Amin Dorian from 5th position with 4th finger stretches or with change of position. That same 5th position fingering
with change to 6th or 13th, flatted, is also used for nat. min. and also Cmaj. They tend to stem from use of pentatonic's and open position playing fingerings.
Reg

Thank you. That's interesting. When I started trying to get my head around playing jazz, the first thing I did was figure out the Dorian mode
and how it might relate to the minor pentatonic scale. I wound up in 4th position on the Am Dorian because it was pretty easy to add the B and
F# to the Am pent. However, because it is pretty easy to find the Am pent all over the neck, it is also easy to find A Dorian all over the neck
too, so I end up all over the place when using that scale, and ultimately all scales when playing jazz too.
I take from what you are saying that it may be better to anchor oneself rather than taking the approach that I have been taking which is to
look at the scales all over the neck on an equal footing.

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That's a different approach than playing blues in a sense since part of what creates variation in what is played in blues is the different way that
the notes fall in different areas of the neck.
Thank you again for this thread. You are being very generous with your time and knowledge.
07-05-2012, 12:20 PM

fep

ColinO, I've seen a lot of Reg's videos and I can assure you he can play any key and any scale anywhere and everywhere on the neck.
Reg, correct me if I'm wrong. Reg is talking about his fingerings which seem to be similar to the Leavitt fingerings. When he talks of A min
dorian that is a fingering which is also the same pitch collection as G major and C lydian and D mixolydian etc. So this is one of the fingerings
he'd use for A min dorian and is also one of the fingerings he'd use for G major.

ColinO

07-05-2012, 12:29 PM

Quote:
Originally Posted by fep
ColinO, I've seen a lot of Reg's videos and I can assure you he can play any key and any scale anywhere and everywhere on the neck.

I've seen a couple of his videos and think he is amazing. That's why I'm trying to understand exactly what he is saying here. I have a ton to
learn from a lot of people on this forum, Reg being at the top of the list. I certainly didn't mean to suggest that he is limited to one fingering
although maybe it came off that way.
Thanks.

fep

07-05-2012, 12:33 PM

No Collin, I didn't take it that way it all, I didn't think you were saying Reg's fretboard system is limited. I believe I know what Reg is saying, but
the way he wrote it is confusing to me also.

Reg

07-05-2012, 03:01 PM

Hey Thanks for interest and help. Sorry about confusion.

Yes Fep... very similar to Leavitts, I'm a grad from Berklee mid 70's. But I was using the basic fingerings already. I went to Berklee to learn
about jazz harmony and composition etc... I could already play... at least well enough to gig... I could read and had chops, the being able to
play part would have been subjective...
The point I'm trying to get across is all my playing, both on the guitar and in my head... has a starting point. My starting reference for
relationships and development.
All the fingerings on the 6th string are my starting references... Even if I'm playing Cmaj scale or arpeggio from 5th string 3rd fret... my tonal or
mental reference would be Cmaj. But my mechanical neck reference would be... all six strings fingering from Gmixo. The fingering is simply a
grid or pattern that always covers all six strings. My tonal point of reference can be anywhere on that grid or pattern.
I'm really just talking about mechanical fingerings... that cover all six strings and moves up the neck seamlessly with least amount of effort.
And these are just my starting points, I don't have to think about these fingerings... they are my instincts. There are other fingerings which
have same mechanical principles. At some point you need to make choices... I did. Obviously I really don't need to think about other fingerings
either, at least when I decide to use them.
There might be other points of interest... more work and making your fingers do more difficult fingering might contribute to pain and even
problems down the line... I've played for 50+ years, never just casually, I play and have played a lot. I've always enjoyed pushing the tempos,
never had any pains.
Another point... I for the most part of my career, have always played a Jazz Box with heavy strings and high action, helps create the style of
playing I like. During the 70's and 80's I played simi and solid body guitars also, the fusion thing. Any fingerings work... you almost want more
difficult fingerings to slow down or create some type of rebound.
My point... probable less chance of doing damage to hands on solid body guitars. But the starting point reference concept still applies.
We could get into structural aspects and mechanics of other systems, etc... do they have holes, hit walls, are they better.
Reg

whatswisdom

07-05-2012, 03:54 PM

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Quote:
Originally Posted by Reg
What I really would like to do is get into playing Jazz, becoming aware of different concepts and their applications...

Right on, Reg! I thought you were starting to live stream one of your gigs when I saw the title. Very generous of you to put in the time... Some
random thoughts: How about "Blues meets MM?" ... Interested in how you control blue notes--to paraphrase our buddy Mr.B. Also, Modal
Interchange 101--keep it simple to begin... Thank you!
07-05-2012, 03:57 PM

fep
Quote:
Originally Posted by Reg
I went to Berklee to learn about jazz harmony and composition etc...
Reg

Hi Reg,
I know you have done a lot of compositions and arranging. That also might be an interesting topic for your thread. It would be great to 'look
over your shoulder and ask questions' as you go through a composition.
Perhaps a little off topic, but maybe some food for future thought.
If you're looking for anyone to do some 'ditch digging' for these threads for you, let me know. I can transcribe and/or notate some of your
stuff.

AmundLauritzen

07-05-2012, 07:14 PM

I hope you don't mind, but I'd like to ask you about strings, picks and amps, because someone who has been playing as long as you have and
at your level must have pretty much tried it all(or maybe you're one of the cats who found his sound instantly?).
Myself, I'm going a bit back and forth when it comes to strings and picks. I've only been playing jazz for four years, so I haven't found my
sound yet, but I'm getting close! Benson talked about combining heavy picks with light strings and vice versa. I was wondering if you have any
thoughts about that and can share your observations about how different picks, strings and amps have worked for you and what your personal
preferences are.

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Reg

07-05-2012, 08:12 PM

It's more of... I use MM for source of Blue notes, not all the time but for what I hear as jazz blues or when I cover funk jazz. I don't really like
rock harmony.
It's pretty simple... I use different approaches when playing,(or composing), to change or add chords or harmonic areas to pull from melodically
and create harmonic movement... the changes. When I want or hear blues... I usually introduce MM as source for those blue notes... If nothing
else, it's great camouflage.
Simple example; I , VI- II- V7, Gmaj7, E-7, A-7, D7
VI- becomes V7 of II-, E-7 becomes E7. Now Tri-tone sub Bb7#11 for E7... that gives you access to Blue notes of Gmaj7, the Bb and the F.
When I use MM... I use in more of a modal style, non functional. Any chord structure or use of notes is cool... So the Bb7#11 is built from 4th
degree of F melodic min. I now have access to all chords built on any scale degree of F melodic min. Which opens a bunch of access points for
new relationships. I could also now sub for the sub... E7#9 for the 1st sub Bb7#11. The E7#9 chord has very typical blue note implications, very
blues like and can even rock. This same process can be applied to the D7... the sub or Ab7#11, or sub of sub, D7#9.
In this situation... the relationships and developments from my simple changes to VI- and the V7 chords are on the weak side of the Harmonic
Rhythm of simple chord progression... the rhythm is Strong, weak, strong weak. So the basic feel of progression, even after changes...is same
as original.
If your soloing over the original progression... you would need to be somewhat subtle with your use of new harmonic areas, at least while you
introduce to the ears.
Simply put... I'm using Melodic minor for source of blue notes. I'm using method of introducing access to MM as system of harmonic control...
the guidelines of use.
In that simple I,VI II V... I used F melodic minor from sub of VI and then also Eb melodic min from sub of V... both gave access to blue notes,
(and a whole lot more).
Play Gmaj7, to F-maj9, to A-7 to Eb-ma9. hummm I'll post some playing examples later after gig.
Frank, great idea, Would simple Jazz tune be cool. I need to write a few new tunes for upcoming new CD. Generally deadlines are the
guidelines for when I compose.
Reg

Reg

07-05-2012, 08:29 PM

Quote:
Originally Posted by AmundLauritzen
I hope you don't mind, but I'd like to ask you about strings, picks and amps, because someone who has been playing as long as you have and at your level must
have pretty much tried it all(or maybe you're one of the cats who found his sound instantly?).
Myself, I'm going a bit back and forth when it comes to strings and picks. I've only been playing jazz for four years, so I haven't found my sound yet, but I'm
getting close! Benson talked about combining heavy picks with light strings and vice versa. I was wondering if you have any thoughts about that and can share
your observations about how different picks, strings and amps have worked for you and what your personal preferences are.

I played through a Twin in the 60's and still use one when I need the volume or presence. I use a Polytone the rest of the time. I have way to
many amps... they sit or are loaned out. I use fender heavy picks, play from the sides, they last twice as long and change them quickly, they
get scratchy.
I'm always going between D'Addario chromes and Thomastic-Infeld or a mix of the two. I change strings at least once every two weeks,
depending on gigs, every week.
I've never really been that big on getting the best sound... I usually try and fit into the band. Everyone loves an ugly dog. Sorry just having
fun... Sound is always a struggle, every room or stage has different sound on stage and if there is sound person... locally they know what I
want, out of area, I do the best I can.
The next video I make I'll go through what and how I play, might give clearer picture...
Reg

jster

07-05-2012, 10:09 PM

Quote:
Originally Posted by Reg
Now Tri-tone sub Bb7#11 for E7... that gives you access to Blue notes of Gmaj7, the Bb and the F.

1) In this case, you get the #11 because the E stays around?
Quote:
Originally Posted by Reg

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I could also now sub for the sub... E7#9 for the 1st sub Bb7#11.

2) How does this sub of sub process work? It seems we would just get back to where we started. Here, I'm really not clear where the #9 = G
comes from since it isn't even in the Bb7#11. Or, going out on a limb, is the idea that you just want an altered chord/altered scale? Could have
said E7b9?
Thanks
07-05-2012, 10:19 PM

fep
Quote:
Originally Posted by Reg

Frank, great idea, Would simple Jazz tune be cool. I need to write a few new tunes for upcoming new CD. Generally deadlines are the guidelines for when I
compose.
Reg

Reg, that sounds great. Thanks

I'm thinking it would be very practical if I learned from your composition and then tried to write one of my own using the same concepts. I'd
then post it in a 'Tune in Progress' thread

edh

07-05-2012, 10:29 PM

Reg, I just a quick note to say thanks for your efforts. I know it's alot of work.
I'm looking forward to the instructions.

Mike Floorstand

07-06-2012, 03:33 AM

Quote:
Originally Posted by Reg
All the fingerings on the 6th string are my starting references... Even if I'm playing Cmaj scale or arpeggio from 5th string 3rd fret... my tonal or mental reference
would be Cmaj. But my mechanical neck reference would be... all six strings fingering from Gmixo. The fingering is simply a grid or pattern that always covers all
six strings. My tonal point of reference can be anywhere on that grid or pattern.
I'm really just talking about mechanical fingerings... that cover all six strings and moves up the neck seamlessly with least amount of effort.

Thanks for sharing this info Reg, I'm feeling on the brink of an epiphany!
Are you saying your approach to a IIm7-V7-IM7 in key of G at fifth position, your starting point is a mechanical reference and anchor to your B
Phrygian fingering, middle finger on string 6, fret 7?
Cheers

Reg

07-06-2012, 10:16 AM

Quote:
Originally Posted by Mike Floorstand
Thanks for sharing this info Reg, I'm feeling on the brink of an epiphany!
Are you saying your approach to a IIm7-V7-IM7 in key of G at fifth position, your starting point is a mechanical reference and anchor to your B Phrygian fingering,
middle finger on string 6, fret 7?
Cheers

The II V I in G is a chord progression. The tonal center or key is Gmaj. My mechanical fingerings are the patterns covering the entire neck. I
use 6th string reference points to talk about my fingering.
I usually wouldn't use a 5th position fingering.
1-3-4
1-3-s4
1-3-s4
1-3
1-3-4
1(3-4)

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Yes, I would use if I was in that position on my neck... the B Phrygian fingering. More often I would be in, or start in 4th position, or my A
Dorian fingering, with 1st finger stretches for A- D7 Gma.
Playing Amin from that 5th position with 4th finger stretches is very rocky, not bad of good, just doesn't have a jazz feel to me. When I use that
5th position fingering it's usually combined with 4th position A Dorian fingering and move to 5th position, (and 2nd) for pentatonic licks.
I rarely stay in one position for more than a beat or two. The position fingering become instinctive... I move up and down the neck to play
whatever and that... 7 positions 6th string reference is my mechanical guideline... my default starting point to be able to move up and down the
neck as needed.
Reg
07-06-2012, 10:32 AM

Reg
Quote:
Originally Posted by fep
Reg, that sounds great. Thanks

I'm thinking it would be very practical if I learned from your composition and then tried to write one of my own using the same concepts. I'd then post it in a 'Tune
in Progress' thread

Hey Frank... sounds fun, will be cool to hear from your ears... I'll make somewhat simple form and then try and camouflage...
E- / A- /..../ ..../ groove
E- / A- /..../..../ different groove developed from 1st groove leading to
?.../.../..../...../ longer maybe time change then pivot chord to rel. min..
F#-11, new groove , longer section, hip melody
last part... something sub-Dom, bVI like.
There we go "A" "A" "B" "C", some what typical form and harmonically close. I'll try and make it a little hipper and post later. (fill in the blanks)
Reg
07-06-2012, 02:52 PM

Reg
Hey jster...

The original changes are; Ima, VI-, II- V7 , a diatonic chord progression, in my example... Diatonic to Gmaj. Ionian. All the complete chord tones
from each chord are from Gmaj. and all with reference to Gmaj.
Typically when playing or composing jazz... that is a little boring, beyond boring... There are many methods of introducing and developing
different types of relationships within that simple chord progression, with or with out melody, and still be based... have the same starting point
of reference and imply that same diatonic progression.
What I'm doing in this example is adding blue notes. I want to use Melodic Minor as my source for adding Blue notes. I'm using subs for my
access to MM.
So E- becoming E7 by becoming V/II- and the sub of that E7 is Bb7#11 which implies chord tones;
Bb, D, F, Ab, C, E, G, Bb, from F melodic Min. There are other choices, but this choice is very typical with Jazz Harmony and playing Jazz and
the one I'm using.
So now by way of introduction of Bb7... which now also has a relationship with the chord progression, and my reason for going through this
process is to frame and give harmonic implications to blue notes, all with reference to the original diatonic chord progression in Gmaj. Anyway
the Bb7 gives me access to the Bb and F.. blue notes of Gmaj.
So now if I want to get a little closer to blues or rock approaches to playing blue notes or pentatonic... Gma pentatonic or the relative Emin
pentatonic. I would use sub for Bb7#11... I'm flipping the tritone to come up with E7 but keeping the same collection of notes from F melodic
minor... result is E7altered. So in this case the sub of a sub.
There are other methods of using sub of sub;
Example; The sub Bb7 pulled from Note collection of F melodic Min.
Because MM can and is use in a Modal type of application. Once you introduce Melodic min. You can use any chordal or note collection built on
any scale degree of that MM. Anyway the Bb7 sub in my earlier example was pulled from F melodic Minor... So I could Sub any chord built on
any degree of F melodic min.
The typical example is E7alt. But could be Abmaj7#11 the 3rd degree of MM. I would be careful with the implied #5.
Or the II-7 chord of F melodic min. G-7.
All sub of subs...
Reg
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