This somewhat Monkish, four bar line, is based on the premise of my previous post, which uses pairs of Perfect Fourths a tritone apart, as part of a Diminished Scale application.
This time, we can work it over a biii - bVI7 - ii - V7 - i progression, which is most commonly found in the last four bars of a typical "Mr. PC" type Minor Blues.
The P4th pair from measure #1 (of line 1) represents one half of the C# (E, G, Bb) half tone / whole tone diminished scale, while the P4th pair in measure #2 is half of the ht / wt diminished scale a half step below that, i.e. C (Eb, F#, A). It resolves neatly into a D tonic minor; D Melodic Minor being the scale of choice.
This time, we can work it over a biii - bVI7 - ii - V7 - i progression, which is most commonly found in the last four bars of a typical "Mr. PC" type Minor Blues.
The P4th pair from measure #1 (of line 1) represents one half of the C# (E, G, Bb) half tone / whole tone diminished scale, while the P4th pair in measure #2 is half of the ht / wt diminished scale a half step below that, i.e. C (Eb, F#, A). It resolves neatly into a D tonic minor; D Melodic Minor being the scale of choice.
Programing at least the bass notes into a Band-in-a Box / iReal type play-along app will allow you to better hear the line in it's intended context; in other words, it might make more sense to your ears.
In fact, it just might have you hummin' and strummin' all day long!
In fact, it just might have you hummin' and strummin' all day long!
B. Stern
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