Ricardo -> RE: What Makes a Good Line ? (Aug. 2 2013 15:51:56)
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quote:
ORIGINAL: guitarbuddha quote:
ORIGINAL: Ricardo My personal thing is how and when to exploit the minor second intervals....relatively speaking. You mean the ascending non-diatonic minor second ? I note that congruence can always be achieved by first rising above the target note before then descending. Such a figure often makes any rhythm acceptable as the resolution is so strong. Thanks for the list Val, in particular the note on intent, which is the thing always of course. D. Not at all...I mean the DIATONIC super sweet ones....there are two sets normally in major key or modes of the major scale, two in the melodic minor scale/modes of, and 3 sweethearts in harmonic minor scale/key (from the dominant chord). Up OR down...and I use the term "exploit" which is ALL about the timing, and I use the term "relatively speaking" because I like to use em a certain way REGARDLESS of the harmony...(meaning not only for resolution). Often times the minor second locations help me create nice tensions against chords (maj7, #11, b9, #6 over minor, b5 etc etc), rather than your typical V-I resolutions (but of course that's nice too). Like I said, it's a personal thing, not some thing from a rule book of improvisation or melody construction.
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