Quote:
Originally Posted by Pat Harris  I have my own systems and methods, but with the instrument being a bass, no matter how "out" you try to get, it always sounds like you're changing chords rather than super-imposing something over a fixed tonal center.
-Pat |
This is exactly what a lot of people do when they play modally, and I don't think it matters too much if it's a bass solo or not, as long as you play strong lines. There's a lot of harmony that's related to E7#9 that has enough different notes that it sounds out, but you can still hear the relationship to E. E7 is similar to G7, Bb7, and Db7, and all those are the same as B-7, D-7, F-7, and Ab-7, respectively, so you can use any of those playing dorian or melodic minor. You could also something like this: B-7|C#-7b5 - F#7| etc. just playing 'inside' over those chords sounds out over E7#9, and you could do the same for the other minor chords. Your ear will give you lots of ways to resolve the line back to E. There's also nothing wrong with telling the piano player to bang out E7#9 if you feel like there's not enough of a contrast.
There's some other things that do fit E7#9 that aren't just scales. Alternating between an E triad and a Bb triad is a common sound, and there's lots of different patterns using just those notes. If you treat it as diminished, then you could play E triad, G triad, Bb triad, and Db triad. E phrygian sounds good too, there's a lot of possibilities
