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Post by JamesP on Jan 15, 2016 8:44:42 GMT -5
Do you typically add color tones to your playing?
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Post by jmuscara on Jan 15, 2016 9:08:10 GMT -5
I do all the time. The simple answer is that I have all these fingers and they all want to be part of the action too!
My approach is a little different, though. Except in simpler pop music, I'm usually playing the seventh anyway. In fact, what I learned from my last teacher was that the third and seventh was what we always play because those two tones define the type of chord - major, minor, dominant, etc. So I might play D in the left hand, and F and C in the right to play D minor 7. If I play the F and C with the first and third fingers, the second and fifth fingers fall easily on other tones of the chord such as the fifth and the ninth.
Moving to G7, C, which is the seventh in the D minor 7 must resolve to the third of G7, B. What about the A and E? Well, they can stay where they are, or either or both of them can move a half step down. A would be the nine, while G# is flat nine. E is the six, D# would be #5. Which ones you play depends on the tune and whether it works with who you're playing with.
Lastly, moving to Cmaj7, the F has to resolve to E, the third of Cmaj7. B is already the maj 7, and if you stayed on A and E, those should move a full step down each to G and D. Or, if either was playing one of those altered tones, they should move a half step down to G and/or D. It's really a Cmaj9 chord.
Again, the trick is what the rest of the band is playing. If everyone is playing the A and/or E on the G7, then you can't really play the ones a half step away as they will clash. If you're solo, you can take more liberties, but you might be limited by the melody.
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Post by JamesP on Jan 15, 2016 9:15:38 GMT -5
Great input Joe.
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