Thinking vs pre-hearing chord tones

[christianm77]

BTW what I posted has nothing to do with the 8 note scale. All you cats getting confused between chords and improvisation, as the man himself might say.

[paulcw16]

I think practicing and playing are two different things. You think in the former and listen in the latter. See Hal Crook's How to Improvise.

[christianm77]

I think practicing and playing are two different things. You think in the former and listen in the latter. See Hal Crook's How to Improvise.

My two jobs as guitar teacher:
1) stop the rockers playing in the practice room
2) stop the jazzers practicing on the bandstand

[Robertkoa]

Re minor ii V i there is a one scale solution if you don’t add any notes to the I sound.

The multiple options are a natural result of the fact that we’ve been messing around with the 6 and 7 of the minor key for hundreds of years.

Which is why ones explorations of this tonality should take in a bit of Bach, if you ask me.

The melodic minor ii v I (I.e iim7 V9 Im.) Common in Charlie Parker also.

Ha !

That was going to be my question...I was fooling around with a Harmonic Minor with a b7 and natural 7 which I use often in Blues ( or from 2 to 2 over a Dom7 for example ..starts and ends on ninth- works over other degrees also ).

So it is an 8 note scale and with both Sevenths it can be used on the ii¤ or alt V in a ii¤- V- i but seems slightly imperfect all the way over the ii ¤ - V but most scales do ...right ?

Any ideas ? Based off Harmonic Minor including transpositions...

I also tried for G minor ( as the i ) Key:

A - B - C - D- Eb- F- G - Ab starting on the ii¤ which is pretty good over the whole ii¤ - V

Works starting on the ii OR on the V but in both cases over entire ii ¤ - V.

So just over the ii ¤ - V - best one scale solutions to try are ?

Also the regular Harmonic Minor ( plus b7) on the root of ii chord and on the root of the V sound pretty good over entire ii ¤ - V.


What others...?

[christianm77]

You’ll find that exact scale in many bop lines.

In Barry land we would think of the G7 (mixo) scale on Bm7b5 going and then putting the G up to a G# (running in the third of E7b9)

Which is actually the same thing.

[christianm77]

I think the scales are really just the basics of line building and are often actually fairly simple. You can get tons of bop language out of just the dominant/mixolydian scales if you know what you are doing.

[Donnie]

50/50... I like relying on a good bass player to bring me into the next chord, especially if I've played with them awhile. I have a feeling (if we can call it that), where the piece is going as well, but playing with a good bass player, and listening, makes the magic.

[Robertkoa]

You’ll find that exact scale in many bop lines.

In Barry land we would think of the G7 (mixo) scale on Bm7b5 going and then putting the G up to a G# (running in the third of E7b9)

Which is actually the same thing.

Yes that's exactly what I was doing but that scale fits in a lot of places ..



What's Harris second most useful 8 note scale ?

It sounds kind of Modern though too...not 'old school' over the R&B Jazz stuff... with different Alt V voicings .

[Toddep]

I’d rather not think but hear


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[christianm77]

Yes that's exactly what I was doing but that scale fits in a lot of places ..



What's Harris second most useful 8 note scale ?

That's not one of Harris's 8 note scales.

BH's 8 note scales are:

Maj6-dim - 1 2 3 4 5 #5/b6 6 7 1
Min6-dim - 1 2 b3 4 5 #5/b6 6 7 1
Dom7-dim - 1 2 3 4 5 #5/b6 b7 1
Dom7b5-dim - 1 2 3 4 b5 #5/b6 b7 1

These scales are not used so much for creating lines, but chords & chord progressions.

It sounds kind of Modern though too...not 'old school' over the R&B Jazz stuff... with different Alt V voicings .

If you use it the Bh way it sounds like bebop... Which can sound cool in that context. I'm sure there are other ways to use it.

Only V7 alteration not in the scale is b5.