Sorry, on your original example again, it depends on context. E
phrygian on Em7 might seem obvious in the key of C, but what about
bar 3 of Satin Doll? E Dorian is a perfectly playable scale there,
Because you are temporarily in D, no? - or at least pointing strongly
in the direction of D. Nevertheless, I can hear F naturals in
descending bass lines there too. To remove all ambiguity from music
is to impoverish the language. Sensitivity to the choice of non-chord
tones can control subtleties, but I have found situations in which
those choices are less important to the overall effect of the musical
gesture than I think they are, when I am composing more slowly than
the tempo at which the music will be heard. I am not proposing
ignorance of this issue, just putting in its place.
Chuck
on that chord, and we aren't even into Freddie Hubbard territory
yet. I still think there is a lot of chord scale theory that can
help us.
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Chuck Israels
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