On Thursday, June 14, 2012 12:02:45 PM UTC-4, himmelhoch wrote:
> On Thursday, June 14, 2012 8:39:18 AM UTC-4, Murdick wrote:
> > On Wednesday, June 13, 2012 3:24:09 PM UTC-5, Slogoin wrote:
> > > On Jun 13, 11:16 am, himmelhoch <himmelh...@verizon.net> wrote:

> > > > There is just a tradition of using the Dorian mode that I thought Larry should know about.

> > >     Thanks but I already know all this and have know it for a long
> > > time. It's making it sound more interesting than noodling around on a
> > > pattern that I find a challenge. From what I hear on the web there are
> > > very few jazz guitarists who CAN make it sound interesting. If you can
> > > play it well then I'd love to hear something that is more melodically
> > > creative than the average player.

> > What I'd be thinking is that outer scale is is either Eb dorian or or Eb minor and the target notes are the Eb minor 7th chord (the Bb m7 sounds like a appoggiatura chord to the Ebm7) . You could reference that Bbm7 with and E dorian/minor ( half step slide). You can also chromaticize the basic mode to make it more interesting. Watch my jazz videos to see how a hacker like me can make a major pent. not sound like a major pent.

> Kent, the tune is a textbook example of modal jazz in the Miles Davis So What tradition.  It's not about adding chromaticism, in the view of those in this style, the chromatic tones take away from the modal feel and represent the old fashioned approach.  These tunes represent a move away from bebop into a newer, cooler, less frenetic approach.

> S