QUOTE (Slammer @ Jan 17 2009, 06:28 AM)
Is it too late for me to join...
Sorry... I didn't notice this thread until right now
You still have time until 28th of January to submit your take.
I will put you down on the list now
QUOTE (wrk @ Jan 17 2009, 08:28 AM)
That sounds interesting Pedja, but i have a question .. i get that from Am7 -> Cm7 is a minor 3rd step, from Cm7 -> F#m7 is a tritone step, but why this leads to the conclusion that dorian or nat. minor is a better choice then phrygian?
Of course, dorian is a bit more obvious as the each cord is a normal minor 7 chord without extensions (b9), but what is this minor 3rd - tritone structure telling me. Is this a typical cadence or something like that?
Very good question Andy
As I mentioned to Monte above, in theory you can really use anything. When I say anything I mean scales/modes that have 1 3 b5 in them which gives you minor triad. Thats why Aeolian, Dorian , Phrygian, Dorian #4, Dorianb2, Harmonic minor 1, Melodic Minor 1, Hungarian minor etc all are the scales that you can use over simple minor chord !
The reason I referenced to Aeolian and Dorian is simply because you will find examples of those scales in Fusion then Phrygian. Check out Mike Stern, John Scofield, Pat Metheny even Michael Brecker.
Don't worry about Minor 7th chord. You can play Harmonic and Melodic minor also over it , even tough you have Major 7th interval there. You just have to pull it off nicely and create interesting melodies with it.
In fact, I may record a solo with melodic minor to show you how it fits great over it !
As far as harmony goes, this is not a specific cadence per say, but I applied some Harmony and Theory rules I learned while ago regarding direct modulation and prepared modulation (at the end
Hope that makes sense Andy
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