I wish I could talk, think, and have the ear of a jazz musician... you guys make us rock and blues guitarists look like elementary school children....:P
When you substitute A Maj7 with E Maj7, what you need to be careful about, I think, are tones deviating from A Maj7 which are B and D#, just as a simple power chord (composed of 1-5-1) sounds like both major and minor chords.
wow this is 20 years old. And he was already playing for 20 years. I think I'll practice for 20 more years - and go 'shit i still can't play as good as this guy did 60 years ago...'
My understanding is, Abmaj7 can be approached with Amaj7 before the resolution and then Amaj7 may be substituted with Emaj7 because the components are pretty much same as Amaj7 except for B(9th) and D#(#11th).
Also just curious if anyone knows why an E maj7 works at the end of this tune. I already do this sometimes but I don't really understand the theory, just using my ears.
@mattpolofka If the highest note in the Emaj7 chord is in the Abmaj7 chord, it will work, because you have 2 common notes, and you get a similiar character. My theory atleast, and the ear is allways right, so you dont need a theoretical reason for it to fit ; )
@mattpolofka I hear an E major 7#11, that I would voice as E - D# - G# - A#. enharmonically, that's E - (Eb - Ab - Bb) an Eb suspended over E. Also, you could view as playing an F (flat) major 7 # 11. The flat 6 modulation is quite dramatic and Pat uses it alot. Think C maj 7 to Ab maj 7.
@mattpolofka it's modal substitution, where you substitute a chord that is diatonic to a parallel (not relative) mode.E Maj7, in the key of Abmaj (the key of this song) can be referred to as flat 6 major. this chord is diatonic to the Ab phrygian scale. So, a chord from that scale was substituted. It also just helps to know that flat 6 major is a very common substitution, because it works very nicely in a tune where the melody ends on the tonic note, because it ends up being the 3rd of the chord
I'm stealing that ending chord. This is really great. I kinda wanna transcribe it but I think the audio quality would end up pissing me off to much if I listened to it 6000 times. Is this a home tape or is there some way I can get a higher quality version of the audio?
I wish I could talk, think, and have the ear of a jazz musician... you guys make us rock and blues guitarists look like elementary school children....:P
winebrew 2 weeks ago
The truly incredible thing about this performance, is how Pat made the static lifeless metronome swing!!
bigwm 3 weeks ago 4
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@mattpolofka because it sounds good, that's why.
SeanMCMLXVI 3 weeks ago
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SeanMCMLXVI 3 weeks ago
Yes, modal interchange.
The very basis of modern substitutions.
SquigglyJ0e 3 weeks ago
When you substitute A Maj7 with E Maj7, what you need to be careful about, I think, are tones deviating from A Maj7 which are B and D#, just as a simple power chord (composed of 1-5-1) sounds like both major and minor chords.
Cradour 1 month ago
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wow this is 20 years old. And he was already playing for 20 years. I think I'll practice for 20 more years - and go 'shit i still can't play as good as this guy did 60 years ago...'
dragondix 1 month ago
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dragondix 1 month ago
@Cradour But don't you need a C#(3rd of A)? E Maj7 don't got a C#
apzlw5 1 month ago
My understanding is, Abmaj7 can be approached with Amaj7 before the resolution and then Amaj7 may be substituted with Emaj7 because the components are pretty much same as Amaj7 except for B(9th) and D#(#11th).
Cradour 2 months ago
Also just curious if anyone knows why an E maj7 works at the end of this tune. I already do this sometimes but I don't really understand the theory, just using my ears.
mattpolofka 2 months ago
@mattpolofka If the highest note in the Emaj7 chord is in the Abmaj7 chord, it will work, because you have 2 common notes, and you get a similiar character. My theory atleast, and the ear is allways right, so you dont need a theoretical reason for it to fit ; )
BananaRelapse 2 months ago
@mattpolofka I hear an E major 7#11, that I would voice as E - D# - G# - A#. enharmonically, that's E - (Eb - Ab - Bb) an Eb suspended over E. Also, you could view as playing an F (flat) major 7 # 11. The flat 6 modulation is quite dramatic and Pat uses it alot. Think C maj 7 to Ab maj 7.
69torus 1 month ago
@mattpolofka it's modal substitution, where you substitute a chord that is diatonic to a parallel (not relative) mode.E Maj7, in the key of Abmaj (the key of this song) can be referred to as flat 6 major. this chord is diatonic to the Ab phrygian scale. So, a chord from that scale was substituted. It also just helps to know that flat 6 major is a very common substitution, because it works very nicely in a tune where the melody ends on the tonic note, because it ends up being the 3rd of the chord
flipadiddle 1 month ago
I'm stealing that ending chord. This is really great. I kinda wanna transcribe it but I think the audio quality would end up pissing me off to much if I listened to it 6000 times. Is this a home tape or is there some way I can get a higher quality version of the audio?
mattpolofka 2 months ago
Thank you very much for this.
arsofe 6 months ago