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Originally Posted by christianm77
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09-07-2019 04:17 PM
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"Why doesn't anyone play the flat three diminished anymore?"
- Barry
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Originally Posted by A. Kingstone
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Originally Posted by A. Kingstone
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C dim major 7th resolving to Cmaj7 , "Bali Hai" for example, uses that biii diminished sound. Also, "The hills are alive, with the sound of music."
F to Fdim maj7Last edited by rintincop; 09-24-2019 at 06:29 PM.
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Originally Posted by rintincop
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Am I the only person who thinks of the I/bIII/#IVo/VI dim 7 as the blues chord? It harmonises the most common melodic embellishing blue notes b3/b5 so you can always put it in there.
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Originally Posted by A. Kingstone
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Originally Posted by Petimar
Yes Barry and my book regarding harmony for guitar. Sorry I didn't see your question sooner.
I was visiting Howard Rees who produced the Workshop Videos and books and asked him about the first couple of bars of Embraceable You which I've been working in different keys. He asked me if I knew why Barry plays Embraceable You in his key of choice: I didn't.
Howard told me that Barry was playing the Village Vanguard and Tony Bennett was there and sat in, suggested Embraceable You in 'F' and Barry has played it in 'F' ever since. It sits nicely on guitar.
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Originally Posted by A. Kingstone
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Originally Posted by tamirgal
Thank you so much! That is lovely.
Alan
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Regarding so called 8 7 6 phrases,
C7 would be different than C6
see below
Last edited by rintincop; 09-22-2019 at 11:09 PM.
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Originally Posted by rintincop
For the 8 phrase I would want one that started on the down beat and ended on 7 on a down beat
for the 7 it would start on down beat and end on 6 on the upbeat
6 would start on an upbeat and end on a downbeat on 5
maybe try that?
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Spent several weeks working through "the basics " from the DVD , and I would have to say that it's a ton of material. everything I've done so far has been dominant , and again, that's a lot by itself.
I'm just trying to imagine at what point of being able to actually PLAY the stuff he has outlined in his material, which I would think is months and years worth of work .....at what point am I going to actually take the time to develop new extrapolations like 876? I don't really have a problem with people doing whatever, but I'm trying to understand the mindset . Are you guys PLAYING all of the basic material like a boss already?
Also, having never looked at it at ALL, I would wonder if maybe the simplest way to reverse engineer 876 type lines wouldn't be simply to play 5432 super impositions of other chords. The important minor' s 5432 over dominant is 2176 of the dominant colored for example? Am I doing that correctly? Anyway, you could reverse engineer 876 basically for major, minor or dominant by subbing in the other types in the same way.
Anyway, that's already its own thing , and somewhat extra credit in terms of what Harris looks at as being "basic". Dominant first then this other stuff . Right?
Again, I'm not trying to criticize, just curious, having spent a lot of time with this personally lately.
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Originally Posted by matt.guitarteacher
Last edited by Tal_175; 09-20-2019 at 01:20 PM.
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Originally Posted by matt.guitarteacher
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Ok. Sorry. TLDNR:
Don't G minor 5432 lines over C7 = "2876" C7 -type lines?
And if so, isn't there already somewhat of a template for 876? And can't you do the same for other chord types?
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Originally Posted by matt.guitarteacher
Our 1/8 phrase would be: CGABb starting on the upbeat ending on downbeat
that makes our 7 line- BbDF#A that works perfectly (A on the upbeat)
makes our 6 line- AGbGG#A. If we adjust this one phrase to land on G we could run through the whole thing seamlessly.
Cool idea!
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your alternate 2 phrase would be: DF#GCBb which is great. I'll be practicing these tonight!
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Wait i just realized something. There is an alternate 2 phrase in the book. which is 2 b7 7 1. If we use this for the 6th phrase (AF F# G) we land perfectly on the G and can go right into the 5 phrase. wow
Matt, you can lead the group
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Originally Posted by joe2758
It's a very Harris -type approach though honestly IMO. To me it would be akin to "What are the 5432 patterns for half diminished?". The answer for him with half diminished is always "play dominant" I guess? Anyway, more mileage out of less material is very much his thing. Reg's is much the same but in different ways.
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Yeah for sure I play all these in multiple applications, but it's just crazy how it perfectly fits with the vanilla version
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Originally Posted by joe2758
the non-chord tones (passing tones) should be on the "off" beats ( 2 4 b6 7 )
8 on beat
7 off
6 on
b6 off
5 on
4 off
3 on
2 off
1 on
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Yes, C7 would be different than C6
Last edited by rintincop; 09-22-2019 at 11:08 PM.
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Originally Posted by rintincop
7 5 #5 6
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If you transpose the original 5 4 3 2 so all of 5 4 3 2 are 1's, you get (and unpivot them when necessary):
5 (maj): 1 3 4 7 5 6
4 (maj): 1 6 #6 7
3 (min): 1 3 5 7
2 (min): 1 6 b7 7 1
So you get two maj7 phrases and two min7 phrases in 5432.
Transposing back to 8 7 6:
8 (maj): 8 6 #6 7 (choosing the 2nd maj7 phrase)
7 (min): 7 2 4 6 (first min7 phrase) (can be pivoted)
6 (min): 6 4 5 #5 6 (second min7 phrase)Last edited by Tal_175; 09-20-2019 at 06:22 PM.
KA PAF info please
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