PLAYING OUTSIDE THE m7 CHORD:



Let's use Cm7 for this example.

We usually think of C DORIAN as the basic mode to be used for improvisation over that chord:

C Dorian: C D Eb F G A Bb (C)


If those 7 notes are what we can consider "inside", there are 5 remaining notes (out of the 12 of the Chromatic scale) that will be considered "outside":

C# E F# G# B


(That is incidentally a C# Minor Pentatonic/E Major Pentatonic Scale, which we could certainly use to sound "way outside" of our Cm7. It is not, however, what I would like to discuss here.)

Each one of those 5 "outside" notes may be treated 2 ways:

1. CHROMATICALLY: the note is simply a passing-tone that will resolve into one of the notes of the scale-- preferably into one of the chord-tones.

2. HARMONICALLY: we can arpeggiate non-diatonic triads and/or seventh chords with the "outside" note used as a root. We still may want to resolve into Cm7.

Here are a few suggestions:


from C#: play C#m or C#/Db triads, C#m7 or DbMaj7 or Db7


from E: play Em or E triads, Em7 or EMaj7


from F#: play F#m or F#/Gb triads, F#m7 or GbMaj7


from G#: play G#m or G#/Ab triads, G#m7 or AbMaj7


from B: play Bm or B triads, Bm7 or BMaj7 or B7



oh, and what about arpeggiating E6/9 or C#m7(11) over that Cm7 ?

:-)









IF YOU LIKED THIS ARTICLE, PLEASE CONSIDER MAKING A SMALL DONATION :-)

YOU CAN CLICK THE PAYPAL BUTTON BELOW AND ENTER THE DESIRED AMOUNT FOR YOUR CONTRIBUTION-- THANK YOU !






I am available for private lessons on SKYPE or FACETIME for more information on this topic, or on anything related to Jazz Guitar, Improvisation or Music Theory.

Click here for details.



See all topics from the Various Thoughts page.

Go to the Home page.

All Content © Bruno Pelletier-Bacquaert 2005 - 2015