A lot of what I do, is harmonize melody notes.
As I’m going. So, in this case, the melody starts here and then goes to the Emaj7, and
then goes to a D7#9. A lot of this is navigation, you know, it’s really like having your own
internal GPS tell you here I am. Even though this is not a standard chord progression,
it still is about the way the chords interact. Cm, to a C triad over Ab in the bass. So when
I’m improvising over a tune like that, I’m looking at and listening to the sounds of
these different chords as individual entities and also how they resolve. Ab lydian to G7
altered or G7#9 to E lydian. But again, it’s made up of all these little cells, you know,
like…That’s the melody. Exactly the same melody. These tunes you really have to know
the scales, because the tunes are, well, they’re more scaler. They’re built with scales in
mind, a lot more than a standard tune is.