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I do like a nice whole tone, but it's a bit like lime pickle - a little goes a long way (unless you are my wife)
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08-13-2017 03:08 PM
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@djg Ab dominant are you talking about improvisation or harmony?
This thread is focussed on the harmonic system of BH's teaching.Last edited by christianm77; 08-13-2017 at 03:14 PM.
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Originally Posted by christianm77
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Originally Posted by christianm77
Pat Martino talks about the augmented triad as a parent for certain harmonic sounds which he then uses to create substitutions and voice leading. There seems to be a lot of overlap, and I was wondering if there was something similar in the Barry Harris system to the dim chord blended with the Maj6 chord, for example using aug triads and major triads blended. Does he talk about blending an aug chord with another chord to form a usable scale? Is the G7#5 a Gaug with a "borrowed note"? Does Barry address the four families of aug triads in a similar way as he addresses the three dim families?
I inserted my question in the middle of @WILSON1 question, so I apologize for possibly distracting from that and I've been trying to wait my turn.
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I ask genuinely as I know the Ab dominant is the choice for soloing (it's what I use)but not sure what the choice is for the 6th dim scales. I was thinking Ebm6-dim but not 100% certain.
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Originally Posted by djg
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Going by Alan's book, I think both Christian's and djg's suggestions are ok for a non-resolving Ab7, as follows:
Ebmin6/dim (page 19)
Ab7b5/dim (page 4)
Ab7/dim (page 4).
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Originally Posted by djg
Ebm6 can be thought of as an Ebdim7 chord with one tone (Bb) borrowed from the Bb6
There's quite a few cool things buried in the scale....
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Originally Posted by christianm77
...and that puts a min6 on the b7 of the dominant of the key...I think you mentioned that before.
And I think you've got the mystery chord in that CODA too...
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Originally Posted by christianm77
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Originally Posted by WILSON 1
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Originally Posted by SeanZ
Sent from my iPad using Tapatalk
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Originally Posted by WILSON 1
Sent from my iPad using Tapatalk
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Originally Posted by WILSON 1
So here I would probably put Cm11b5 (Ebm6 9).
It's a bit cumbersome, but it helps me see what the chord actually is 'in context' and also how I got there from a BH voicing. I find this helps me apply the same idea more easily in future, in other tunes or keys.
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Originally Posted by WILSON 1
Anyway it opens up interesting possibilities that maybe there are some other cool subs of maj6 or min6 chords which work over a different chord (I mean in addition to those mentioned in the book).
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Originally Posted by grahambop
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Originally Posted by joe2758
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we could probably "justify" something like that using BH terms since between the b3, b2, and "related dim" we have every dim chord acceptable in every key with only the loose rules of related goes to one, b3 goes to 1 or 2, and b2 goes to 2
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Alan calls them i dim, iv dim, and v dim but that was more of just a "why not call them..."
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Originally Posted by grahambop
...but use of the dim on the II of the dominant scale is just what we are getting here with AK's book.
Prior to this I would usually play the dim on the third ( sounding as a 7 b9). I was not conscious of the dim on the IV.
Also, I like your ideas on labeling chords on the chart...I can see that will be helpful, thanks.
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Originally Posted by grahambop
This was a part of a "synthetic scale" lecture and I can tell you that Howard Alden wasn't too cool with it when I brought it up at one of his workshops.
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Originally Posted by WILSON 1
regards to all
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Something for my finger style friends.
OK Joe..I'll be reviewing that!
Thank you.
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Originally Posted by SeanZ
Aren't we talking about the voicing starting with C, Gb, Bb and F?
If that is the case the chords options would be Cmillb5, D7#9#5, Ab13, Ebmi6/9, Gbma7#11
If you're referencing another chord, my apologies.
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my bad! I was thinking of Haerle's alternate fingering which is C, Gb, B, & E and that does provide the chords I listed. Using the C, Gb, Bb, & F fingering you're absolutely correct. Apologies if I've added to the confusion.
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