When you’re playing organ, you can be more orchestral, and they are able to have substance moving around that only adds to the texture of what’s going on, you know, in the band. You take your 9th ambiance and you move it down to the root, to the major 7, to the dominant 7, and you SUS it, and you resolve that with the 9 or the b9, you did the same happen here. The object is, I’m not just plotting down the chords, chord to chord, chord to chord, chord to chord. I want to be very economic in how I do it, so let’s look at this G child. Db9, I’m not moving anywhere. I want to harmonize this E, but I don’t want it to sound pedestrian, you are familiar, so what do I do? I go…
I wanted to get some crunchy memoranda in there. I go to the two chord, just go right for your minor major 7, right Larry, you love that one. Substituting dominant chords for a minor 7 chord. Now, you say , Larry, how are you able dominatize a chord if the music is on the 4? You’re so naive. You only do it! You only do it, you exactly do it. And seem, search how I’m doing it, I’m doing it like this. The reason why that works, is because you got distance. You got a nice distance here and the 7 in between ..
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