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Superimposing Structures Over Harmony?

 
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kirk95
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Joined: 14 May 2004
Posts: 277
Location: Boulder, CO

PostPosted: Tue May 25, 2004 6:36 pm    Post subject: Superimposing Structures Over Harmony? Reply with quote

Superimposing Structures Over Harmony - how do you guys think about this - examples please?

I spend a lot of time working on this. Things like you can play the V of any chord over that chord - or the II V............

Or of course you can harmonize melodic minor in triads, sevenths, sus4, sus9 and use them over say dominate chords.

What else are you doing with this stuff? The Scotts (L and J)? Question
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scottl



Joined: 17 May 2004
Posts: 52
Location: Cherry Hill, NJ

PostPosted: Wed May 26, 2004 7:28 pm    Post subject: Reply with quote






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kirk95
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Joined: 14 May 2004
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Location: Boulder, CO

PostPosted: Wed May 26, 2004 8:19 pm    Post subject: Reply with quote

He Scott...you da man! Thanks!

Could you resize those graphics a little smaller?

Thanks!
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clovis



Joined: 18 May 2004
Posts: 40
Location: Waco, TX

PostPosted: Wed May 26, 2004 8:51 pm    Post subject: Reply with quote

Those pages Lerner just posted are the key!! He sent them to me over a year ago and I've been improving ever since. If you want the secrets....they are all there....Of course, I would take it a bit at a time. I still sit and practice off those pages and always find something new...some new sound superimposing one thing on another....etc.

Thanks for sharing that Scott....

John
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fusion58



Joined: 17 May 2004
Posts: 96
Location: Bangkok

PostPosted: Thu May 27, 2004 6:23 am    Post subject: Reply with quote

Quote:
Superimposing Structures Over Harmony - how do you guys think about this - examples please?

I spend a lot of time working on this. Things like you can play the V of any chord over that chord - or the II V............


I've played a few blues gigs lately where most of the tunes were pretty standard (and boring!)

I was having fun superimposing chord progressions where they didn't exist, e.g., in a standard twelve-bar blues (I-IV-V) I plugged in some sort of bebop turnaround in bars 11 and 12, and then played lines that would normally fit those changes. For example, in bars 11 and 12 of a 12-bar blues in 'E,' play lines you would normally play over G#mi7 / C#7(b9) / F#mi7 / B7(b9).

Nothing groundbreaking, but it sounds cool!

Here's a sample line:

----7--5--4---------------------------------------------
-------------7--6------------------5---4----------------
-------------------7--6--4--3--6----6---5--4--2--1----
----------------------------------------------------------
----------------------------------------------------------
----------------------------------------------------------

Cool
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cash_man



Joined: 19 May 2004
Posts: 11

PostPosted: Fri Jun 25, 2004 11:01 am    Post subject: Reply with quote

Scottl`s contribution to the superimposition discussion is very relevant if your struggling to sound like Mr Henderson himself. It is a consice and good start for everyone who´s want to learn about this theme.
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clovis



Joined: 18 May 2004
Posts: 40
Location: Waco, TX

PostPosted: Tue Jun 29, 2004 3:39 pm    Post subject: Reply with quote

Actually what Scott posted is important to any musician who takes his/her craft seriously and wants to better themselves as an intelligent improvisor.

I still refer to this sheets everytime I practice and/or learn a new tune.
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scottl



Joined: 17 May 2004
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PostPosted: Tue Jun 29, 2004 5:22 pm    Post subject: Reply with quote

I wish I knew how to use what I posted. I probably use less than 25% of it... So much to practice and learn!!! I am so lazy. It is one thing to theoretically know it and another to use it fluently and musically in a well phrased fashion.

Scott
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cash_man



Joined: 19 May 2004
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PostPosted: Wed Jun 30, 2004 7:52 am    Post subject: Reply with quote

True, it is very hard to choose what to use, and when to use...
But if you have deep knowledge of melodic minor, most of this is familiar.
When I practise these things, I try to figure out which substitutions/superimpositions fit my style and brain best.. Maybe I one day can reach the point Scott Henderson is on (yea sure...), who sounds natural and not theoretical.

It is important not to overdo the harmonic thinking, cause then you can loose the art and the spontanity. And thats maybe what music is all about?
But knowledge is power...
My tip for the last day in June:

Chords: Gm----C7-----FMaj7
Superimosed: Bbm---Eb7----Fmaj7
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theox



Joined: 22 Dec 2004
Posts: 2
Location: Finland

PostPosted: Wed Dec 22, 2004 10:48 am    Post subject: Reply with quote

Also check out:
http://www.chrisjuergensen.com/improvisation%20guide.htm
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