Here’s another easy way to combine the more “modern” sounding qualities of 4ths and 5ths with a hint of classic bebop language over ii-V7-I. Take a look at the example above.

I essentially use only two different tonal elements for the entire line. In the first measure, I start with a suspended chord shape: E, G, D, A (which could be labeled either/both D Sus9, or A Sus7). I continue with an altered-note melodic shape (G, Bb, Ab, F) in anticipation of the G7 chord. In the next measure, I return to the original suspended chord shape in a different inversion from the first measure. I then use the exact same four-note altered note shape from measure one, but place it an octave higher. The notes of this shape, relative to G7, are: 1 (G), +9 (Bb, functioning enharmonically as A#), -9 (Ab), 7 (F). It seems to imply a diminished scale quality, but could be interpreted many ways relative to other diatonic scales that fit as altered substitutions over G7 (e.g., Ab melodic minor, F melodic minor, etc.)

The line then returns (3rd measure) to a variation/inversion of the original four-note suspended shape, and continues with these four notes until the end. As you can see, both four-note pitch sets (the Sus chords and the altered notes) share a common note, the “G”. The two colors combined (Sus and altered) make for an interesting contrast that works well over the chords. Dissonances that fall well within the bebop realm, but the suspended shape adds an interesting contrasting element. If you’d like to explore more creative options over ii-V7-I cycles, please consider my e-book, ii-V7-I: 40 Creative Concepts for the Modern Improviser. For a free, downloadable pdf of this etude, click the link below:

Sus Chord Combined with Altered Melodic Shape-pdf

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