Chord scales / soloing strategies for Metheny's "Bright Size Life"
Phil
mainly using triads and pentatonics, with an ocassional #11 on the
maj7ths. Just curious how you would approach the tune.
Also, in bar 8 supposedly G/A is implied (you know, over the "fifths"
lick), but I don't hear it.
Thanks
-Phil
Joey Goldstein
G lydian Bb lyd or A phryg *
Gmaj7 | |Bb/A | |
D ionian D mix or C lyd Bb lyd A mix
D |D/C |Bbmaj7 |G/A ||
G lyd Bb lyd or A phryg *
Gmaj7 | |Bb/A | |
D ion D mix or C lyd G lyd (or G ion**) D ion (or D mix**)
D |D/C |G/B |D ||
A mix * G mix
G/A | |F/G | |
A mix or * D ion
A/E | |D/F# | ||
G lyd Bb lyd
Gmaj7 | |Bb/A | |
D ion D mix or C lyd A mix D ion
D |D/C |A7 |D ||
On Bb/A I've got two names for the same scale. Bb lydian and A phrygian.
I tend to hear it as a Bb chord, but there is a valid argument that it's
really an A chord. Likewise on D/C you might hear this as a D chord or a
C chord. D mix and C lyd are the same scale.
* The chords that have A in the bass [including Bb/A...think of it as
Asus4(b9,b13)] are functionally V7 in this key. As such any of the
altered tensions one might normally utilize on V7 may have their place
on these chords as well, especially the ones that resolve to D chords,
dependant on taste and skill level of course.
** Since the G chord, IV, has just been preceded with V7/IV it is often
treated with the ionian scale rather than the lydian. The decision is
between the notes C and C#. If you use C's here you might still hear
them on the D chord too, with a slightly bluesy suggestion.
These chord-scale suggestions are just that, suggestions. There are
other ways to go too on this tune. Eg. Try ionian on some of the Gmaj7
chords. Try Bb ion on Bb/A. Etc. Think in extended arps (see below)
rather than scales. Etc.
Here's the same roadmap expressed as all major scales:
D maj F maj
Gmaj7 | |Bb/A | |
D maj G maj F maj D maj
D |D/C |Bbmaj7 |G/A ||
D maj F maj
Gmaj7 | |Bb/A | |
D maj G maj D maj (or G maj) D maj (or G maj)
D |D/C |G/B |D ||
D maj C maj
G/A | |F/G | |
D maj
A/E | |D/F# | ||
D maj F maj
Gmaj7 | |Bb/A | |
D maj G maj D maj
D |D/C |A7 |D ||
Here's the same thing expressed as chord symbols with extensions:
Gmaj7(9,#11,13) | |Bbmaj7(9,#11,13)/A | |
D(add7,add9,add13) |D(addb7,add9,add13)/C |Bbmaj7(9,#11,13 |A7sus4(9,10,13)||
Gmaj7(9,#11,13) | |Bbmaj7(9,#11,13)/A | |
D(add7,add9,add13)|D(addb7,add9,add13)/C|G(add7,add9,add#11,add13)/B|D(add7,add9,add13)||
A7sus4(9,10,13) | |G7sus4(9,10,13) | |
A(addb7,add9,add13)/E | |D(add7,add9,add13)/F# | ||
Gmaj7(9,#11,13) | |Bbmaj7(9#11,13)/A | |
D(add7,add9,add13) |D(addb7,add9,add13)/C |A7(9,13)|D(add7,add9,add13)||
Notice that I've left out T11 on several major chords where T11 rather
than T#11 is present in the suggested chord-scale. This is because on
major chords T11 tends to clash with the 3rd of the chord. But you can
try it if you like. You just need to be a little bit more careful how
you use it than the other suggested tensions.
Why not?
> Thanks
> -Phil
--
Joey Goldstein
http://www.joeygoldstein.com
joegold AT sympatico DOT ca
A.Most
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:4267E096...@nowhere.net...
I hope you had that filed under "Bright Size Life" lesson & just copied &
pasted it.
THAT was a lesson in itself right here.
Joey Goldstein
Nope. Just typed it up. Took me about a 1/2 hour. But I've played this
tune for years so I didn't have to do any extra analysis for this.
Phil
>> Also, in bar 8 supposedly G/A is implied (you know, over the
"fifths"
>> lick), but I don't hear it.
>Why not?
I guess because the F# C# B F# E B A D "melody/fifths-thing" Pat plays
on the head doesn't sound like it is outlining G/A to me.
-Phil
Joey Goldstein
There are very few places in this melody that are outlining the changes.
thom_j.
detailed knowledge within the musical arena. A very envious tee'.
Joey Goldstein
"thom_j." wrote:
>
>
> Amazing joey G! No BS! you never cease to amaze me with your
> detailed knowledge within the musical arena. A very envious tee'.
Yep. As I sit hear stork nekid, eating a block of cheese, telling y'all
about theory, while I have no gigs, that's a pretty freakin' amazin' feat.
A.Most
>
>
> "thom_j." wrote:
> >
> >
> > Amazing joey G! No BS! you never cease to amaze me with your
> > detailed knowledge within the musical arena. A very envious tee'.
>
> Yep. As I sit hear stork nekid, eating a block of cheese, telling y'all
> about theory, while I have no gigs, that's a pretty freakin' amazin' feat.
>
yeah, well that part you need to work on.
thom_j.
>> Amazing joey G! No BS! you never cease to amaze me with your
>> detailed knowledge within the musical arena. A very envious tee'.
"Joey Goldstein" wrote:
> Yep. As I sit hear stork nekid, eating a block of cheese, telling y'all
> about theory, while I have no gigs, that's a pretty freakin' amazin' feat.
Joey don't forget, this is the price many geniuses paid so don't feel
slighted but honered. ya ya ya I know it don't pay the bills but you
are still one amazingly smart man when it comes to music..fact...
cheers t.j.
pmfan57
>
> Yep. As I sit hear stork nekid, eating a block of cheese.
>
Hey! It could be worse. The Farmer's Wife could have gotten your tail.
Joey Goldstein
I'm just sayin'.
Theory, as useful as it is, will never get you a gig (unless it's
teaching theory) or play one for you.
And, the stuff I say here about theory is not really all that advanced.
Hell, figuring out chord-scales for BSL is about as easy as it gets. You
guys who are impressed by this worry me. <g>
Dan Adler
http://www.soundclick.com/bands/9/danadlerandrichardsamuelsmusic.htm
I agree with Joey's complex analysis, but I look at it much simpler.
The most important thing is the F# going to F natural when moving from
the first chord to the second, which gives it a major-to-minor type of
sound. In fact, I would say the challenge in the whole song is about
the F# going to F and B going to Bb. The bridge adds a little game of C
going to C# as well.
Dave Illig
first chord of any song.
A.Most
"Dave Illig" <da...@daveillig.com> wrote in message
news:1114380442.3...@z14g2000cwz.googlegroups.com...
> If I had to think like this when I play, I would never get past the
> first chord of any song.
>
lol
Joey Goldstein
Dave Illig wrote:
>
> If I had to think like this when I play, I would never get past the
> first chord of any song.
You don't have to do anything.
Lawson Stone
at d...@danadler.com wrote on 4/24/05 1:31 PM:
> I agree with Joey's complex analysis, but I look at it much simpler.
> The most important thing is the F# going to F natural when moving from
> the first chord to the second, which gives it a major-to-minor type of
> sound. In fact, I would say the challenge in the whole song is about
> the F# going to F and B going to Bb. The bridge adds a little game of C
> going to C# as well.
A very amateurish question...but isn't going from the GMaj7, to the BbMaj7,
to D basically a kind of fancy plagal cadence? Basically GMaj, Gm, D?
I can't be right because my solos on this suck...but precisely what does
suck about seeing it this way?
************************************************************************
"I'm dying because I convinced myself that there was no order, that you
could do whatever you liked with any text."--Diotallevi
************************************************************************
Lawson Stone
Let's talk about: Jazz Guitar, Cowboy Action Shooting, Horses,the Bible
Come by for a visit at: http://home.alltel.net/lawsonstone
For academic stuff: http://fc.asburyseminary.edu/~lawson_stone
Joey Goldstein
Lawson Stone wrote:
>
>
> A very amateurish question...but isn't going from the GMaj7, to the BbMaj7,
> to D basically a kind of fancy plagal cadence? Basically GMaj, Gm, D?
Yes...and no. <g>
> I can't be right because my solos on this suck...but precisely what does
> suck about seeing it this way?
The only problem is the A in the bass on the Bb chord. The function of
the Bb/A, the way I hear it, is as a cross between Gm (IVm) and A7alt (V7).
thom_j.
> Hell, figuring out chord-scales for BSL is about as easy as it gets.
> You guys who are impressed by this worry me. <g>
to me... my 2p tee'....
Tom Walls
says...
> > "thom_j." wrote:
> >> Amazing joey G! No BS! you never cease to amaze me with your
> >> detailed knowledge within the musical arena. A very envious tee'.
>
> "Joey Goldstein" wrote:
> > Yep. As I sit hear stork nekid, eating a block of cheese, telling y'all
> > about theory, while I have no gigs, that's a pretty freakin' amazin' feat.
>
> Joey don't forget, this is the price many geniuses paid so don't feel
> slighted but honered. ya ya ya I know it don't pay the bills but you
> are still one amazingly smart man when it comes to music..fact...
> cheers t.j.
And man, don't those genius' love cheese!
--
Tom Walls
the guy at the Temple of Zeus
Joey Goldstein
lol
> --
> Tom Walls
> the guy at the Temple of Zeus
--
Tom Lippincott
it's listed in the Real Book as Bb/A, but on BSL, Jaco plays a Bb. I know
you studied with Pat around this time, so maybe you have more insight, but I
just always thought it was yet another case of the Real Book being
inacurate. I think there are one or two other spots where what Jaco and Pat
play on the recording doesn't match up with the chords in the RB.
--
Tom Lippincott
Guitarist, Composer, Teacher
audio samples, articles, CD's at:
http://www.tomlippincott.com
Joey Goldstein
That may be so Tom. I haven't heard the original in quite some time.
Still, I like the A in the bass.
> --
> Tom Lippincott
> Guitarist, Composer, Teacher
> audio samples, articles, CD's at:
> http://www.tomlippincott.com
--
A.Most
"Tom Lippincott" <tomlip...@bellsouth.net> wrote in message
news:C4Rbe.137283$vL3.1...@bignews4.bellsouth.net...
>
> Joey Goldstein <nos...@nowhere.net> wrote in message
> news:426C639B...@nowhere.net...
> >
> >
> > Lawson Stone wrote:
> > >
> > >
> > > A very amateurish question...but isn't going from the GMaj7, to the
> BbMaj7,
> > > to D basically a kind of fancy plagal cadence? Basically GMaj, Gm, D?
> >
> > Yes...and no. <g>
> >
> > > I can't be right because my solos on this suck...but precisely what
does
> > > suck about seeing it this way?
> >
> > The only problem is the A in the bass on the Bb chord. The function of
> > the Bb/A, the way I hear it, is as a cross between Gm (IVm) and A7alt
> (V7).
> >
> >
> > --
> > Joey Goldstein
> > http://www.joeygoldstein.com
> > joegold AT sympatico DOT ca
>
> it's listed in the Real Book as Bb/A, but on BSL, Jaco plays a Bb. I know
> you studied with Pat around this time, so maybe you have more insight, but
I
> just always thought it was yet another case of the Real Book being
> inacurate.
I realize the charts in the "Pat Metheny Songbook" are not his personal
transcriptions but still...
it's written Bbmaj7b5/A. Maybe he was frightened to tell Jaco to play an A.
I think there are one or two other spots where what Jaco and Pat
> play on the recording doesn't match up with the chords in the RB.
>
Yeah I don't know that I've heard an A(or C# or G for that matter) ever
played from Jaco on the second to last bar.