Mike's Music Musings

An instructor once told me that a great skill to develop is the ability to translate one lick to multiple scales and chord qualities. Music is made up of patterns and thematic development of a motif, which is usually expressed over changing chords. Accomplishing this involves understanding how scales are constructed, and which of the scale degrees are stable versus unstable . This is just another way of saying which tones carry tension and which tones carry the absence or resolution of tension. Chord tones are stable, and the non-chord tones are more unstable- especially if within a half step of a chord tone. For example, the b9 really wants to resolve to the 1, and the 4 is begging to resolve to the 3.  Non-chord tones with a whole step relationship, for example, the 9 or 6 in a major scale, are more stable and depending on the context can act as stable or unstable tones. Notes that are neither chord tones nor non-chord tones (i.e., outside of the scale) can be also expressed as ...

This month I'm learning "The Girl From Ipanema" and I've been studying its chord changes so I can better navigate the tune when soloing.  I've discovered a few cool concepts along the way which I'll share here.

Whether you know it or not, you've heard the minor line cliche before.  The progression is a key feature in songs such as: In a Sentimental Mood This Masquerade My Funny Valentine  This device can be an effective way to add harmonic motion to a chord, especially when it's held for an extended period of time.  Over a minor chord, the harmony could be thought of minor - minor/major7 - minor7 - minor6.  The minor line cliche can also imply a ii-V progression, starting from the root of the minor chord and landing on the third of the dominant or major 7th of the I.  T he minor line cliche obvious or obfuscated, weaving other notes through and around it. It's helpful to study famous minor line cliches and come up with your own.