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Originally Posted by rlrhett
Am - use C6
Dm - use F6
G7 - use Dm6
For G7 alt, use Abm6. Or substitute Fdim (and its other 3 related dim chords) to get G7b9.
Cmaj - use C6.
For m7b5 use the m6 up a minor 3rd.
e.g. Dm7b5 - use Fm6.
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08-22-2016 01:55 PM
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Originally Posted by grahambop
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Originally Posted by christianm77
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Originally Posted by rlrhett
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Originally Posted by princeplanet
BH wouldn't have an issue with it. In fact the 'important minor' is a cornerstone of his teaching.
The min6-dim thing is a different bag.
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I think of the 6 dim scale as one integrated system of dominance-dissonance to consonance (A really elegant way to understand the fundamental cadence of tonal music --V -I.
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Originally Posted by rlrhett
Am ---> Am6 or Am7
Dm ---> Dm7 or Dm6
G7 ----> Dm6, Abo7
Cmaj7 ---> Am7
- the bit we discussed re the G7/Dm6 thing.
- Am6 over C will give you an F# and therefore a lydian sound. That might work, but is not a common choice for swing or bop music. YMMV. Am7 is a more conservative choice.
So the whole thing can be handled with two arps - Am7 and Dm6.
The melody for Django's Swing 42 is a good example of a tune that actually does use Dm6 over the Dm and G7, over a rhythm changes style chord progression in C.
Not the only options, but that'll get you started, in particular for pre-war jazz styles, which is what my channel focusses on.
Maybe I'll do another video on how to handle turnaround tunes - like Rhythm Changes - using this appraoch.
My example - All of Me is hereLast edited by christianm77; 08-22-2016 at 02:56 PM.
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Originally Posted by NSJ
Just so I can be absolutely clear, nothing I discuss in the video has anything much to do with Barry's teaching. This is basic stuff I learned myself, from records, and many teachers talk about this kind of thing.
It does feature in Barry's teaching, but he goes far beyond these basic principles. These are basic videos to help people get improvising over changes.Last edited by christianm77; 08-22-2016 at 03:08 PM. Reason: grammar
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Originally Posted by princeplanet
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Originally Posted by grahambop
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Originally Posted by christianm77
I hasten to add, I do like using m6. I especially like that m6,9 type chord that Wes used a lot. But I don't like to over-use it.
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Originally Posted by grahambop
That's what Charlie Christian did... Over use m6. That's not to say there's nothing else - all of the subs get used even in 30s music.... but, if you had to ask me to define the sound of swing era it would be the min and maj sixth chords.....
You wont find the m7 sound used much on tonic minor during this era. It does get used, but generally in passing. m6 is more common - but minor triad is actually more common in Django's music AFAIK.
But then to me, m7 on minor is kind of 50s/60s kind of sound. It's quite soul-ey, really....
If I was doing this from the perspective a later guitar style, I might have chosen different arpeggios. Perhaps, m7 on minors, m7 a third up on majors, o7 on minor dominants, maybe m7 or b7 maj7 sub on majors...Last edited by christianm77; 08-22-2016 at 06:58 PM.
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Originally Posted by christianm77
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Originally Posted by christianm77
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These lessons on your channel are really top notch, Christian! An ideal mix of theory and playing! (I found this current lesson quite tricky compared to the easier earlier ones, tho.) Will be checking em all out.
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Originally Posted by dizzy101
There's a lot of info in this one.... It's more a road map than a step by step 'how to'...
Jack Wilkins passed a year ago today.....
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