Ever heard of Tribal Tech? They have this tune called Stoopid, http://www.youtube.com/watch?v=uUSk9Y_hTjk. That doesn't work, so here are the excerpts: http://soundcloud.com/porkinguglies/stoopxcerpts
And their keyboardist, Scott Kinsey, plays some pretty funky stuff which I'd like to share and discuss with you. By the way, the guitarist is Scott Henderson, known for being in Chick Corea's Elektric Band.
EDIT: the youtube link is blocked, so you'll find the three excerpts in order here http://soundcloud.com/porkinguglies/stoopxcerpts
The first occurs over a repeating Ab7#9 Db7 groove at about 5:21, which I have transcribed here: http://bayimg.com/OaIfkAAdp
1. There are some redundant natural signs in there, but I they're not immediately intuitive so I figured I'd risk overemphasizing them to be safe.
Anyway, what do you think of it? I think it's a great sound. I'm trying to figure out whats 'going on' in it. Obviously the distorted EP, angularity, and use of 4ths helps, along with the bluesy b3-root ending, but what else? The first three notes make me think Ab half-whole, then the F Bb Eb part is more mixolydian, but I think that may be overthinking it--or underthinking it, I'm not sure.
2. Here's a second one, which occurs over (from what I can tell is simply) a persistent groove on C7 at about 3:06: http://bayimg.com/OAIflAADP
'Way I see it there's C blues in the first bar, followed by a very clear Calt sound, but then you get an A and B natural before it resolves nicely to G for what implies to me C mixolydian. I know it's not all about scales, but I'm trying my best to describe it.
3. This last one occurs in the same section as the second, over the same C7 bit. It happens around 2:31 http://bayimg.com/oAIFmaADp
Again it starts out sounding like Calt (so I'm not sure what to think of the first left hand chord) and then it sounds to me like maybe he implies Db7#11 in the last two measures and ends back home with C, even though as far as I can tell the guitar and bass are still keeping the C7 going.
One additional thing I noticed is that in all three clips he makes varied use of the 3-note shape with a tritone between the bottom two and perfect 4th between the top two (as in FBE) both horizontally in the melody and vertically in the left hand.
So if you feel up to it, share your thoughts on these excerpts, and the general 'sound' he's accomplishing. How do you think he's thinking about it? Is it simply 'out' or is there more to it then that?
If the pocket is there ( and it is ) -practically any notes in the chromatic scale will fit over a I7 9# > !V7 whatever without overanalyzing the components that go to make it up harmonically: blues scale -sideslipping -clusters -
fourths - it all works as long as the intensity and the pocket are present.
Swing ..or I'll kill you ( Bill Potts )
The best explanation I can give of it is that when something is said to be "in the pocket" it means that it grooves, makes you nod your head and tap your feet or something like that. To put it more technically I'd say that when something is in the pocket, that something is being played with enough drag or push timewise that suits the music being played at that particular moment and thus "propels" it. Errr.... or something like that. It is a pretty vague concept.
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