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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).
