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Hey guys here is my version. I tried to focus on melodic development based around triads. Hope you enjoy!

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mikepinto Thu, 10/22/2009 - 21:28

In reply to by tonymiceli

what i'm really trying to demonstrate is that by playing over Bmaj over the Ab-7 you get a certain sound, and then playing Bbmaj over the Db7 gives you a very specific melodic/harmonic sound to create melodic material from.
So to hear the full sound put a Db7 (no 5th) under a Bb triad. Now when you improvise play over the Bb triad. The melodies that come out will sound more harmonic than playing a melody off of Db7 alone. To give more choice to your melodic statement you can add the Db7 chord notes to the Bb triad and now you have more notes to use. But don't run it like a scale...carefully craft a melody.
Just some thoughts!


David Friedman Thu, 10/22/2009 - 18:20

Beautiful, Mike. I loved the way you went for a specific atmosphere and tailored the tune to your concept. The piece lost nothing of it's charm, but rather gained depth from your
special treatment of the harmonies. Well done!

tjaco Thu, 10/22/2009 - 19:22

Well when I hear this it could only be 3 mallet mike!

Great version and I love the triad stuff and great sound too!

It is so cool that more guys are joining in on these tunes. Thanks Mike!


Marie-Noëlle Sun, 10/25/2009 - 14:37

The Pinto touch... always beautiful! :o)
It feels to me a bit as if you where playing it on a harp... Lovely!

Such different versions of the same tune this week! BTW, this one my fav... ;o)

- M

P.S.: Am I wrong or was this the softest and most unbotrusive stick drop I ever heard?!