Where can i get such info? Will 'jazz theory book'(Mark
Levine) have this? Please suggest some source. Info on
typical scales etc. I don't have access to one to check
myself. Please reply.
Thank You
In terms of scales, the typical scale to use over the iim7b5
chord is the half-diminished scale, aka sixth mode of the
melodic minor scale, aka locrian sharp 2. Over the V7b9
chord, if the fifth is not altered, you can use the
(half-whole) diminished scale aka octatonic scale; or if the
fifth is altered, you can use the altered scale, aka
super-locrian, aka seventh mode of the melodic minor scale,
aka diminished whole-tone. Over the im chord, you typically
use the melodic minor scale, unless there's a b7, in which
case you use the dorian scale. Let me know if you don't know
how these scales are constructed.
As for chord substitutions, it's generally a matter of
knowing the scale relationships above, and simply picking
sets of notes from these scales! Particularly with modes of
the melodic minor scale, most of the 7th chords that you can
construct from the scale corresponding to a particular chord
will function well as substitutes for that chord
(particularly if you use more than one within the bar) . . .
though in the case of a ii-V-I progression, you generally
want the bass to either go 2-5-1, or 2-b2-1.
Thanks in advance & BTW what a cool newsgroup
Peter Wheatley
----- Original Message -----
From: Paul Erlich <paul@s...>
To: <jazz_guitar@y...>
Sent: Thursday, July 19, 2001 11:21 PM
Subject: [jazz_guitar] Re: Harmonic Minor scale
--- In jazz_guitar@y..., "Deolindo Casimiro" <dcasimiro@h...>
wrote:
[SNIP]
I think I'm being a victim of self-tuition: I have always
convinced
myself that for a iim7b5-V7b9-im progression I would only
sound
"consonant" if I played the NATURAL MINOR SCALE (which in the
case
of Cm should be the Eb Major Scale (with a Bb) from the sixth
degree) over ii and i and the HARMONIC MINOR SCALE over the V7
to
accommodate the major third of the dominant chord. [...]
Is this a wrong approach?
This is what you might call a "classical" approach, which might
work
well in a lot of styles related to classical music. In modern
North-
American jazz, though, it would probably sound a bit
out-of-place.
