ii V I..something to try over the V chord

Barney

Very cool...im off to try that right now...thanks

viz

One easy way I like to get exactly the super locrian notes is to play only major 3rds (or diminished 4ths) and augmented 4ths (or diminished 5ths) because the melodic scale, and therefore the super locrian, is peppered with them. The super locrian’s intervals are sTsTTTT. So 1st to 4th is a major 3rd (well, a diminished 4th), as is 4th to 6th, and 6th back to 1st. And 1st to 5th is a diminished 5th, 5th to 1st is an augmented 4th. 

What that means for playing is that, as the bottom strings are 4ths apart, you can make use of the angular or diagonal finger patterns. If you play 1 2 3 4 x x, you are playing augmented 4ths. And if you play 4 3 2 1 x x you are playing major 3rds.

So if you’re playing in C major, the dominant chord is the G7. So over the dominant chord, deploying the major 3rds, you can use the diagonal structures, 3 2 1 0 x x, 7 6 5 4 x x, 11 10 9 8 x x.

Deploying the augmented 4ths, you can use the diagonal structures 3 4 5 6 x x, and 9 10 11 12 x x. In fact there’s another two you can insert, to make use of the augmented 4ths between the 4th and the 7th and back to the 4th again, so 7 8 9 10 x x and 13 14 15 16 x x.

For two of the diagonals, for anyone with an extra finger, you can actually extend them to the B string to make use of the Bb (fret 11 on the B string) which is not a major 3rd or an augmented 4th in the key of G, but works because of the kink in the interval between G and B string. The 2 diagonals that exploit this kink are 7 8 9 10 11 x and 15 14 13 12 11 x.

Tell you what, here's a diagram I dun. The green line is the altered chord of G7(alt), and the red lines are all the diagonal possibilities.

I like these structures because they break away from the scalar and chromatic phrases and give a spiky, angular feel to the note selection.

bingefeller

If you're playing over a maj chord try playing the harmonic minor from the 3rd of that chord.

eg - Amaj7 = C# harmonic minor.  

Kurt Rosewinkel uses this idea a fair bit in his playing.

viz

I like that a lot.

GuyBoden

bingefeller said:

If you're playing over a maj chord try playing the harmonic minor from the 3rd of that chord.

eg - Amaj7 = C# harmonic minor.  

Kurt Rosewinkel uses this idea a fair bit in his playing.

Nice.

Isn't that scale called a Lydian#2.
A B# C# D# E F# G# A

That B# needs careful treatment and a good pair of ears like Kurt Rosenwinkel's.