You may remember that 2-5-1. Now, the whole thing about this is, you can't use these exact same notes, it's a relation. So, when I use them, we want to go to the D#9, I just did it over a B#9. I want to go up a major third. So, over the A half- diminished, I really just went up a fourth. There is the 4 to D, and I played it over the #9. We are really up just a minor third, here is the major, here is the minor. So, we want to go the minor third, so let's do it here, because we are in a different key, here is the A half-diminished again, where I'm starting this lick the fourth above, which makes it the D.
Now, we are not playing B#9, we are playing D#9#5. Same chord, just moved around on the keyboard. I said before when we did it over B, with that minor third up, this lick, when you are on the #9 chord. It doesn't matter if the 5 are # or not. It can be here, it doesn't change this lick. Remember, we said we want to go up a minor third. Now, a minor third, this is the major third, we need the F. So, let's start the lick instead of this one, which worked over B when you just start on F and do the same thing. We are going to go, F, D, Bb, Gb, F. This is really similar to upper structure also if you want to think about it that way over half-diminished. Remember, we said you could use any of the augmented chords and how I touched on the fact that those are really all the same.
As upper structure, well, this is where this lick comes from, we are just putting the D on so you can think of it as G major. It's combining and then there is that augmented chord as well. For #9, I want a minor above from the D, which is F, there is that minor third above. Now, I want to make a major triad. So, there is Bb major and then Gb. Into the minor key you can resolve it that way, and that works.
Let's go ahead and look at this, with a couple of different rhythms and you will always remember how you are going to apply the lick and what you need to do to apply it. Let's look at it one more time. Those are the two different ones. So there's that one, that's the one with the C instead of using the B. Here's it with B. Over the #9, that's very common.
Guys, the lick comes from what? If you remember, when we apply a melodic minor scale over a #9 chord, we are just going a half step up and playing a melodic minor. Without harping on the fact, the melodic minor for D#9 is Eb melodic minor. All these notes come out of that scale. The other way to look at it, remember, over a #9, the lick is really close to the voicing you are using, one of the voicings you are using in your left hand. The other voicing for that #9 again was C, F, F#, Bb. It also has some of those top notes in it.
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