00:06 1. "American Garage" 2:07 Pat Metheny Group, American Garage 1979
Third intervals shifted chromatically to play outside and escape the static harmony. Ascending and descending legato allow speed.
00:21 2. "Yolanda, You Learn" 3:52 Pat Metheny Group, First Circle 1984
Both chromatic notes between two degrees of the scale (mis. 1, 2, 4) and a diatonic chromatic approach to chord tone D, on Sol7sus4.
00:46 3. "Nothing Personal" 2:07 Michael Brecker, Michael Brecker 1987
Start with an enclosure around the sixth of Cm7 (A). Meas.2, 3 this is a recurring segment which has a geometric justification, playing with the legato Pat produce this sequence of intervals: 2nd min, 3rd min, 2nd major, 3rd min. Same segment on measure 5, halftone below, Gm7 chord is anticipated by a scalar line in Ab (mis.3) After this phrase, mostly outside, ends on the root of Eb7.
01:29 4. "Midnight Voyage" 4:13 Michael Brecker Tales from the Hudson 1996
Measure 2, after the descending chromatic passages there is an ascending fourth interval. In the same bar the ascending line (from Eb) is opposed to the descending chromaticism (F, E, Eb). This line ends with minor third leaps over a Ab diminished arpeggio that suggest a G7b9 sound.
02:08 5. "Another Life" 4:18 Pat Metheny Group, Speaking of Now 2002
The outside beginning is due to the anticipation of the altered sound used on the Eb7 chord, which resolves in Ab minor, where the mixolidian b9 b13 is "hybridized" by the #9 (F#) used in the beat too.
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