I am writing out a line for the tune "Witchcraft". This chart seems a little awkward to me. I'm having trouble with a few of the changes.

1) two measures of Abo7 to Gm7
2) Am, Am+5, Am6, Am+5 (one measure of each)

Any suggestions would be appreciated.

Thanks,
Joe

Abdim = G#dim (G# B D F)

So I would suggest trying | G# C B Eb | D E F F# | G min

This is using chromatic approach notes. You can always go chromatic when all else fails or just play the notes of the chord. Sometimes play the root twice (works for Ray Brown).

On the Amin, Amin +5 etc

Try substituting |Amin | F/A | Amin6 | F/A

Hope this helps

Thanks. I appreciate your suggestions. I will give them a try. :)

Joe

No problem. And to clarify, I was thinking of playing the G# on the D string going up and then the Eb on the G string and then up the the octave G on that string.

Todd,

Any suggestions on this one?

When I'm in a bind, I usually go R, b5, R, b5 to get me through a diminished chord or half-diminished chord. 2 measures of a dimished chord seems too long to continue the same pattern.

Usually I see a half-diminished chord going up a forth to the next chord. This example is a little different. The chord changes, but the root is the same.

Thanks,
Joe

There are only 3 diminished chords.

Each note of a diminishied chord can be the root. Any note can be approached chromatically (you have all twelve notes to play with).

There are only 3 diminished chords.

Each note of a diminishied chord can be the root. Any note can be approached chromatically (you have all twelve notes to play with).

I'm familiar with the theory behind dimished chords and their enharmonic spellings.

I'm looking to see what kind of lines Todd tends to use over diminished harmony. I appreciate all of your suggestions and input.

Thanks,
Joe

If you know all the theory, I don't what else I can tell you that would help.

Freddels,

Thank you so much for all of your help. I am able to walk over diminished chords. The reason I posted was to get some slick suggestions from Todd. You gave me a good and helpful suggestion that I appreciate. I'm just curious what Todd tends to play when he encounters 2 measures of a diminished 7 chord. That's all. ;)

Thanks again,
Joe

PS. I don't claim to know ALL of the theory. That would be pretty awesome. :ninja: When I went to college to become an orchestra director, my highest grades were in music theory/composition/analysis. This was of course "classical theory". Anyhow, I know that I will never know all of it. I just keep pluggin' away...

Another suggestion would be to ask the piano player or guitarist in your group what substitutions, if any, they play over the diminished chords. It might give you some more options.

Best,

Todd,

Any suggestions on this one?

When I'm in a bind, I usually go R, b5, R, b5 to get me through a diminished chord or half-diminished chord. 2 measures of a dimished chord seems too long to continue the same pattern.

Usually I see a half-diminished chord going up a forth to the next chord. This example is a little different. The chord changes, but the root is the same.

Thanks,
Joe

Hi Joe,

I just noticed something you said:

"Usually I see a half-diminished chord going up a forth to the next chord. This example is a little different. The chord changes, but the root is the same."

In "Withcraft" the chord is a full blown diminished chord....not a half-diminished chord.

Half-diminished chords almost ALWAYS function as a ii chord in minor.

Diminished chords "quite often" pass between ii and iii in major for some reason. You see them other places too, but this is quite common......ANYWAY........

I just wanted to clarify that.....

I wrote out a few examples for you and will have them posted in a few minutes....

Thanks for your patience.

Todd,

Any suggestions on this one?

When I'm in a bind, I usually go R, b5, R, b5 to get me through a diminished chord or half-diminished chord. 2 measures of a dimished chord seems too long to continue the same pattern.

Usually I see a half-diminished chord going up a forth to the next chord. This example is a little different. The chord changes, but the root is the same.

Thanks,
Joe


Hi Joe,

Well, as threatened........here's a few "simple" ideas for "Witchcraft".

You know,.........the best thing to do is to go to the original (or your favorite) recording of this tune and "transcribe" what the bass player did. That's one the best things you can do....PERIOD!!!

That said:

Attached is a pdf with 4 different examples of something to play over the G#/Ab diminished chord etc. (I left all the other measures the same in the examples....I assumed our focus was on the diminished chord!)

Anyway..........

Examples 1 and 2 are "arpgeggio based ideas".

Examples 3 and 4 are "scale type ideas".

You know..... I bet you might be able to mix and match those ideas too....Hmmmm..;)
As long as you resolve to the root on the Gmin7 chord you should be in good shape.

Also, I realize that there are a whole host of other combinations and possibilities, but this ought to get you started!!

Play slow.........and thanks again for your patience!!

Now that I've finally uploaded this stuff and see how easy it is I feel kind of silly for taking this long! Doh!!:o

Better late than never........

Todd,

Your reply to this post is simply AMAZING! I am in awe. Thank you so much!

I'm not sure why I made mention of a half-diminished chord. I guess I was trying to say that I'm more comfortable playing over half-diminished than full diminished. I dunno'. Sorry for any confusion that created.

Anyhow, you're example sheet is beautiful. I am always impressed with the way you arrange your teaching material. Your Walking Bass Line DVD is sequential and easy to follow. This example sheet is the same way.

Your timing is perfect. My first night out with my jazz combo is this Wednesday. I can really use this.

Thanks!
Joe

Todd,

Your reply to this post is simply AMAZING! I am in awe. Thank you so much!

I'm not sure why I made mention of a half-diminished chord. I guess I was trying to say that I'm more comfortable playing over half-diminished than full diminished. I dunno'. Sorry for any confusion that created.

Anyhow, you're example sheet is beautiful. I am always impressed with the way you arrange your teaching material. Your Walking Bass Line DVD is sequential and easy to follow. This example sheet is the same way.

Your timing is perfect. My first night out with my jazz combo is this Wednesday. I can really use this.

Thanks!
Joe


Hi Joe,

Cool........:cool:

I'm happy to help. Let me know how it works for you.

Happy hunting!!;)