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Looking at the keyboard player's hands, I think he's playing something like E G B and D, while the bass player is hitting an F.
Sounds like an Fmaj7 family chord- there seem to be a maj9 and maj13.
So with Dm7 to F maj7- you could think of it as a ii to IV chord progression in the key of C Major.
D Dorian would fit fine.
Even if it were an F 13 the only note to avoid out of D dorian would be the E and only over the F13 chord.
That shouldn't pose much of a problem.
Have a jam on Dm7 to Fmaj7 and Dm7 to F7, mixing between Fmaj7 and F7 on alternate passes, even playing Dmin7 F7, Fmaj7 on occasion.
Hear how the F7 tries to pull up to the Fmaj7.
OP- how familiar are you with the concept of secondary dominants?
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In each round of 8 bars, he plays almost exclusively in d Dorian (apart from the odd passing note such as Ab, and with heavy emphasis on the 2nd degree (E) and the 5th degree (A)) - until the last bar of each of the rounds 1 and 2, ie for the turnaround at 5:45 and 6:05 approximately, when he throws in a C#. The C# gives it that unexpected jazzy colour, as it is in both the scales of d melodic minor, and a# melodic minor (ie A superlocrian), both of which are jazztastic.
Although he uses this 'outside' note very sparingly it has an amazing impact on the taste of the groove. I think of this C# as being part of A superlocrian rather than d melodic minor, because in jazz it's very common to use superlocrian over the dominant, and even though his turnaround is not strictly speaking on the dominant chord, it's still a turnaround, so you can pick out any notes from a superlocrian and it will have the same effect, though the C# is particularly effective. But it's a moot point, you could just as easily say he's adding a major 7th, ie playing d melodic minor for an instant amongst the Dorian. Of course d melodic minor differs from d Dorian by only one note (C# instead of C) - the thing about A superlocrian is that it has a C as well as a C#, as per his playing.
One incredibly easy way of achieving this effect is, you know when you're soloing in the blues box around fret 10 for d minor, and you're playing d Dorian - ie on the B string you're playing A B C on frets 10, 12 and 13 - classic Dorian material; well, when the turnaround happens and you need that C#, you simply slide up a semitone and play frets 11, 13 and 14, just for a sec, just before the beginning of bar 1 of the next round. Instant superlocrian. It's always astonishing to me that those special notes, the A#, B# and C# are so within easy reach of the blues box, just a fret away from the standard Dorian, and yet it might well be the very first time you've ever played them in a minor blues solo! It's like the guitar has a hidden section of notes you've never found before. At least that's what it was like for me the first time.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
All that time wasted trying to use my little finger!