| In my understanding, it's where you improvise with scales over relatively static vamps rather than deriving solos from chord changes via arpeggios. Pitch axis could definitely play a part in it. You could use arpeggio or pentatonic subsititutions over a static chord to imply a specific mode, as you say, for instance, you could get a Dorian sound by playing a minor seven arpeggio a tone higher than the root of a minor seven chord, resolving it back to a chord tone. You can get away with this a lot more of static chords than you usually could over fairly busy changes. |