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Re: STRATEGIES for REHARMONIZATION in LIVE LOOP COMPOSITION



I always resonated well with John Abercrombie's comment to a student when asked what scale he was supposed to play over a particular set of chord changes. John's response was, "the chromatic scale". Duh!! :) The rest is just a matter of taste, feeling the resolution points, avoid dwelling on certain tone to long but using them as passing tones, etc. It is more difficult with pop music, which tends to be diatonic and more restrictive. I personally love to improv chords on the fly. In fact, most of the time when I'm improvising to a soloist (sax, etc), I couldn't tell you what chords I am playing...only that I use a lot of tight tone clusters and try to support the tonal center, if there is one. Of course, if there is a chart, I like to convert everything to dominant 7s, and then play a flat 7 tri-tone substitution for each one (like playing a F#7b5 over a C9). Or make your tri-tone subs all Alt 7s (Dom7b5#5b9#9)....that can create some really far out shit.

Or, if you are substituting chords, drop the root and 5th...not necessary anyway, if you have a bass player. And then re-construct the chords so that all the intervals are as close as possible to each other, e.,g, play the 9th interval as a 2nd).