Jim
>In Dave Liebman's book, A Chromatic Approach To Jazz Harmony And Melody, he
>finds all sorts of ways to logically justify all sorts of superimpositions.
>It's a great book if you're interested in this type of thing.
>
>One of his methods that intrigued me involves giving another chord tone
>besides the root the weight of a tonal centre.....a sort of tonicization of
>another chord tone. Eg. On a G7 try treating B as if it's the tonal
>centre....B Lyd/G7.....B Ion/G7.
>
>One technique that I like to use is to superimpose an alternate progression
>that has the chord of the moment as a target for resolution. Eg. On Am7 as
>Im7 try outlining B7>E7>Am7 or F7>Bb7>Am7.
>
>This type of thinking can be made to sound tonal and melodic but it is
>really a polytonal technique applied, in jazz usually, over a tonal form
>(ie. tune). I believe this technique is called "pan tonality".
>
>All these pan tonal techniques have as a prerequisite to their effective
>execution the ability to outline a primary harmonic centre in the first
>place. The same methods (ie. arpeggios, passing tones, auxilliaries,
>appoggiaturas, cambiatas etc.) that are usually used to enforce and
>embelish a harmonic centre are used to accent the superimposed centre.
>
>One hip substitution that I've seen some guys advocate (Mick Goodrick in
>his great book "The Advancing Guitarist" for one) is substituting a Maj7#5
>chord for a Dom7. I guess it's one way of harmonizing the maj7 as if it
>were a chord tone in it's own right. Does anybody else on this list use
>this substitute very often?
>
>
>
>Regards
>
>J. M. Goldstein
>Guitarist/Composer/Teacher
>joegold@idirect.com
>
>Checkout: http://www.icom.ca/~freeflt/
>
>Death?....Never!....Not While I'm alive!
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