yeahh Kev:)everything is related in one way or another,and a lot of players who play the modes dont realy know what the modes are-
Its only when you isolate those individual notes that makes them stand out from the crowd that they sound modal or altered.Classic example over a static dom chord is the Harmonic Minor 5th mode-still has that bluesy Dom 7th and major 3rd but that flat 6 and 9 add great tensions
The thing is you need to know what notes make the mixolydian scale and chord voicings-same as the other voicings and scales relating to other ones.When you can see and hear these colours music travels in more directions
I have jammed/taught some realy good rock musicians and have been surprised that they can fly all over the fretboard but cant isolate these notes-i guess they have learnt shapes and patterns and dont see the chord voicings as they play.
when i mentiones diatonic ear i am of course refering to rock players that find playing out the box untunefull!lol Brett and Greg howe are the only musicians out there that my rock ears like:) Greg is way diferent to Brett with his high tech style and swing phrasing-brett still swings with impressive tech but his melodic phraing is what captures my attention and hold it there till the last note.There (out box)playing is captivating to me and pleasing to the ears-that great fusion king Alan does not move me the same and to be honest sounds like a lot of meandering bollox.lol.I know most regard him as the best out there ever,and he has his moments but not enough for me to buy all his albums(like greg and brett)
Alan does not move me the same and to be honest sounds like a lot of meandering bollox.
Wow, i hope you have your flame proof suit at the ready (LOL)
Hah, dont worry, my wife feels the same way so i have to sneek around covertly to listen to allan,but she plays flute and naturally gravitates to more acoustic environments rather than electric sounds, but i put on a tune or two for my 2year old son when she's not around.
cheers
Joined: 16 Jun 2005 Posts: 404 Location: Melbourne
Posted: Wed Mar 01, 2006 9:13 am Post subject:
I'm lucky - my wife actually likes Holdsworth; came to a gig with me once and everything. And the first track I ever played for her was "Devil Take the Hindmost"! (She hated FLAT Tire though.)
(Using a minor pentatonic scale 1/2 step above an altered dominant chord can - when done "correctly" - sound really cool!)
Yes you really would have to handle this ah, "correctly" as the minor pent 1 b3 4 5 b7 a half step above gives you a major seventh on a dominant 7th chord, not recommended to be used on your next wedding function gig ( LOL)
cheers
I like to use what I call the 'Robben Ford Scale', I am not sure on its official term, but its where you replace the flat 7 in the blues scale with a major 6th, so in G for example it would be G, Bb, C, D, E, G. Essentially it removes that nasty 7th and replaces it with the dom7th (of the altered chord half a step down, that is). So if you were playing over a E7#9, you would use F scale, being F(b9), Ab(3rd), Bb(#11 or b5), C(b13), D(7th). You could also add in the g to keep the #9 in there as well. Whats nice to do is to use some standard E blues licks, then sidestep up into the F scale to create some nice dissonant jazzy stuff.
Also, another little trick I use is over an altered dominant, is to use the minor pentatonic a minor 3rd above. So over an A7 altered use C minor pentatonic. Again its full of altered tones in regards to A7, so it works great.
actually here is a little tune using some of these concepts, not the best playing, but it gives you an idea on how to play with the chord progression rather than through it.
http://www.members.iinet.net.au/~darrylr/ProgJazz.mp3
Alan does not move me the same and to be honest sounds like a lot of meandering bollox.
Wow, i hope you have your flame proof suit at the ready (LOL)
Hah, dont worry, my wife feels the same way so i have to sneek around covertly to listen to allan,but she plays flute and naturally gravitates to more acoustic environments rather than electric sounds, but i put on a tune or two for my 2year old son when she's not around.
cheers
LOL most of my mates wouldnt even be in the same room if i am playing his tunes(i also bought one of his instrutional books,so i dont hate the guy;)
no big deal-perhaps when i am old and grey and hopefully deaf;)i will like ALL his stuff
EDIT-cool playing there Dazza-realy liked some of your swinging lines in there-melodic phrasing,well done
Joined: 30 Jun 2005 Posts: 57 Location: Leicester England
Posted: Wed Mar 01, 2006 6:27 pm Post subject:
Yeah that Robben Ford scale is really good,Another way is to use the melodic minor a half step above the root of a dominant 7th.So use A flat over G7th etc.
Also, another little trick I use is over an altered dominant, is to use the minor pentatonic a minor 3rd above. So over an A7 altered use C minor pentatonic. Again its full of altered tones in regards to A7, so it works great.
yeah, good stuff. i remember transcribing some scofield years ago and recall that was a favourite move of his, to play the minor pent a minor 3rd above the dom 7 chord to get some alterations
cheers
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