Comments on: video: Spyderico http://music.linear1.org/2007/02/18/video-spyderico/ transfusing emptiness into vacancy Wed, 14 Oct 2009 23:08:00 -0400 http://wordpress.org/?v=2.8.4 hourly 1 By: Rob http://music.linear1.org/2007/02/18/video-spyderico/comment-page-1/#comment-1878 Rob Tue, 20 Feb 2007 00:57:36 +0000 http://music.linear1.org/2007/02/18/video-spyderico/#comment-1878 So the fundamental idea at work here is that the diminshed scale can be expressed as four major triads whose roots are a minor third apart. The melody outlines the four major triads C, Eb, Gb, and A, which together make the C half/whole diminished scale, or what I call the C7 diminished scale. The melody is built by outlining at least two triads within each phrase. But since it's triads, it's actually not terribly hard to play. My solo is built using similar ideas, but I vary the phrasing a lot more, and I extensively end lines on the most "outside" sounding notes, and on upbeats where possible, to build the unusual feeling. I'm working on getting more major 7ths and minor ninths into my lines for even more disjointed sound. So the fundamental idea at work here is that the diminshed scale can be expressed as four major triads whose roots are a minor third apart. The melody outlines the four major triads C, Eb, Gb, and A, which together make the C half/whole diminished scale, or what I call the C7 diminished scale. The melody is built by outlining at least two triads within each phrase. But since it’s triads, it’s actually not terribly hard to play.

My solo is built using similar ideas, but I vary the phrasing a lot more, and I extensively end lines on the most “outside” sounding notes, and on upbeats where possible, to build the unusual feeling. I’m working on getting more major 7ths and minor ninths into my lines for even more disjointed sound.

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