![]() ![]() 2 gives you an idea of the possibilities of the superimposed arpeggio over a Bb7, and also happens to be similar to a lick that Benson plays in a variety of contexts. Guitarists like Benson and Pat Martino have employed this symmetrical chromaticism to great lengths, as it not only sounds great, but it feels great and lays out nicely on the fretboard.Įx. Oftentimes without a common interval linking chromaticism together, it can sound random or unorganized. The chromaticism in this idea also happens to be symmetrical, with the interval of a minor third anchoring the outside note to the key. ![]() Delayed melodic resolution is a hallmark of the bebop idiom, having been pioneered by Charlie Parker and Bud Powell. 1, landing on a B natural directly on beat two, but immediately resolving it to a Bb by way of a chromatic enclosure. Superimposed arpeggios are often used to emphasize different colors on a chord or tonality, but in this instance, Benson uses it to generate forward linear motion and get from one area of the fretboard to the next.īenson also utilizes a delayed melodic resolution in the first measure of Ex. The first measure of this lick is straight bebop, with Benson making extended use of the Dm7b5 (D–F–Ab–C) and Abmaj7 (Ab–C–Eb–G) arpeggios on a Bb7 chord. ![]()
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