Yeah this kind of exploration is great. The only issue I’ve had is figuring out is how to voice lead with some of the peculiar polychords one can wind up with…
top stuff! yes it's so informative that you get maj7#11 and 13b9 all those quite complex harmonies just from major triads over bass notes and also surprising how many of them are used in well known recordings. I love to take a tune (bass and drum backing) and comp it using only various triad superimpositions you can get all the harmonies you need and not have to give yourself carpal tunnel to execute them haha
Good man Charles!
Cheers John 🤘
Yeah this kind of exploration is great. The only issue I’ve had is figuring out is how to voice lead with some of the peculiar polychords one can wind up with…
top stuff! yes it's so informative that you get maj7#11 and 13b9 all those quite complex harmonies just from major triads over bass notes and also surprising how many of them are used in well known recordings. I love to take a tune (bass and drum backing) and comp it using only various triad superimpositions you can get all the harmonies you need and not have to give yourself carpal tunnel to execute them haha
Yes exactly! I do the exact same thing, trying to imply a lot with a little. This is the backbone to the Tim Miller/Mick Goodrick approach. Cheers