HARMONIC ANALYSIS OF “TIME REMEMBERED” – B. Evans
Second part
In the first part, I listed the most “ingoing” scales and modes to play over the song's chords during improvisation.
In the second part, I will list the most “outgoing” scales and modes usable over the same chords..
I perform the harmonic analysis by indicating first the Mode and then the appropriate scale for the chord.
B-9:
B Dorian mode - D lydian augmented scale, D lydian diminished whole-half.
B Aeolian mode – G lydian scale.
B Phrygian mode - C lydian scale.
It is possible to convert to B-7b5 using the F lydian scale.
By applying the analog concept of transposition, it is possible to treat the other Dorian modes present in the piece in the same manner as B Dorian.
Cmaj(#11): C lydian mode – C lydian augmented scale, C lydian diminished whole-half.
With identical analog transposition, the other lydian modes can be treated.
Musical taste will guide us in whether or not to treat a Mode.
Giuseppe Perna