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Pentatonic licks also emerge in measures 14<br />
and 62, but Frisell plays the A♭ minor pentatonic<br />
to match the A♭ minor chord, juxtaposing it<br />
against the C minor pentatonic that he used<br />
throughout so much of this improvisation. It’s<br />
also effective when he plays the C minor pentatonic<br />
with the flatted fifth in measure 61,<br />
against the A♭ minor harmony, and then switches<br />
to A♭ minor pentatonic in the next measure,<br />
changing the scale he is using while the chord<br />
remains the same.<br />
Another distinctive aspect of Frisell’s sound<br />
is his use of harmonic seconds. He allows notes<br />
a half or whole step apart to ring simultaneously.<br />
Examples can be heard in measures 5, 6, 7,<br />
8, 10, 23, 27, 45, 51, 52 and 63. Often this<br />
occurs over the Cm chord, where Frisell uses<br />
the second and third together, creating a dissonance<br />
that helps define the harmony.<br />
In measure 63 he plays the root and second<br />
together. By this time the listener is familiar<br />
with the minor sound, so the lack of a third does<br />
not disrupt the harmony, but instead reveals a<br />
new angle on it. On the A♭m, he also plays second<br />
and third together, creating the same texture<br />
against this harmony (measures 5 and 45).<br />
Frisell uses the same second and third<br />
against the Fm chord in measure 53 and 57, but<br />
here he inverts the interval, making it a major<br />
seventh. He used this same interval back in<br />
measure 24, but in a much more dissonant fashion<br />
against the V chord.<br />
More evidence of Frisell’s multigenre leanings<br />
comes in bars 46–48. The sharp chord<br />
hits on the backbeat, while the low notes hit<br />
on the strong beats. This creates a powerful<br />
reggae vibe.<br />
Bill Frisell<br />
Jimi Durso is a guitarist and bassist in the New<br />
York area. He can be reached at jimidurso.com.<br />
HYOU VIELZ<br />
DB<br />
June 2009 DOWNBEAT 107