Welcome to week #44 where we’re going to continue our analyzing lines series. I didn’t want to stop our current series, but I did want to take a brief detour last week to talk about setting goals because I felt it was important to bring up. Especially since most students are on the last leg of their final semester of the year (at least in most of the US school systems that is). There’s no day like today to put a plan in place for reaching our goals.
One of the first things I notice in the beginning of this line is the chromatic targeting of the Ab (flat-3rd) on the Fmin7. I can’t tell you exactly what Lee was thinking in his mind, but I see the first part of the line as an F-minor line (disregarding the C7 and thinking of both bars as Fmin7):
Probably the most interesting part of this line is what Lee Morgan plays over the Bb7. I’ve heard some educators talk about this particular line as a Bb7 diminished lick or an altered-dominant lick. I don’t disagree with those at all, but if we’re going to look at a line and break it down for our own use…we need to dig a little bit deeper. When I look at this, I notice a B-minor triad with some chromatic and diatonic embellishments. It’s almost as if Lee was thinking about side-slipping the line up a half-step (which causes the line to hit the b9, #9, b13) to B-minor. Again, this is my opinion. But, take a look and tell me what you see:
The next thing I notice is something that I spend an entire chapter on in my book (Targeting: Improvisation With Purpose). This is one of the many lines I see players doing that caused me to write about this concept in my book. If you would like to know more about it, check it out. But, you’ll see that Lee is using part of a diminished (or altered) scale to target the 3rd of the Eb7:
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