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  1. #601

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    Quote Originally Posted by christianm77 View Post

    Don’t confuse soloing and accompanying harmony. I know this is tough to understand from the point of view of most other pedagogy where it’s seen as the same thing. The soloing changes are heavily simplified from what you might see as a typical accompanying part.

    In rather the same way that we don’t have to think about IIm7, we don’t have to worry about any of that stuff. That’s for the rhythm section to decide how they dress up the chords. We can dress things up totally differently in the solo line.
    Excellent points.
    For "E-7b5 , play C7 down from the 7th to C# for A7). Do you think the explanation is more than it keeps chord tones on the beat?
    I think it's the prettiest scale line you can do on a minor 7thy b5 chord, imo.
    I notice it's what Parker did in A Night In Tunisia, Embraceable You, What Is This Thing Called Love, and Hot House.
    Last edited by rintincop; 08-31-2019 at 10:43 PM.

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  3. #602
    I've been working "the basics" section from the DVD workbook.

    I happened upon a nice guitar-centric way of practising the halfstep rules for variety. Basically, I just work from the "1" descending. Then, 1-up to 2 and back down, same rules. Then scale from 1 up to 3 and back down etc etc. Once you get to 3, you can incorporate 3 half steps... Anyway, I reach the upper limit of the position, and moved on to another position...

    I may work "1 lines" that way for a week or so and then, on to another. It's a nice mental break and easy to hear/conceptualise. You aren't changing rules four ever other iteration. They're mostly ear training four me anyway.

    It's just variety, but it also suits the peculiarities of the guitar particularly well IMO.

  4. #603

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    Quote Originally Posted by rintincop View Post
    I notice it's what Parker did in A Night In Tunisia, Embraceable You, What Is This Thing Called Love, and Hot House.
    I've seen this in several Bird solos I've transcribed. Seem like it was his favorite line for minor II V.
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  5. #604

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    Looks like he's at the Vanguard this week, y'all.

  6. #605

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    Pasquale showed me a cool exercise when you run the scales through a tune. Instead of running the scales all starting on beat one, you take off one note at a time from the start of the scale, so you end up starting scales on different parts of the beat.

    E.g for the blues. Bar 1 - C7, you start on beat one and run up C7 from the tonic. Bar 2 - F7, you start on the off beat of beat one which would be starting the scale on the second degree and so on.

    we did this on cherokee and we also did the reverse, where we take off a note at the end of the scale. So you would always be starting on beat one every time you run a scale but ending on a different part of the beat.

    you could then probably combine the two together (haven't worked on it yet). But you would start on beat one and end on beat 4 then the next bar you would start on the off beat of one and end on the off beat of 3 etc.

  7. #606

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    Quote Originally Posted by don_oz View Post
    Pasquale showed me a cool exercise when you run the scales through a tune. Instead of running the scales all starting on beat one, you take off one note at a time from the start of the scale, so you end up starting scales on different parts of the beat.

    E.g for the blues. Bar 1 - C7, you start on beat one and run up C7 from the tonic. Bar 2 - F7, you start on the off beat of beat one which would be starting the scale on the second degree and so on.

    we did this on cherokee and we also did the reverse, where we take off a note at the end of the scale. So you would always be starting on beat one every time you run a scale but ending on a different part of the beat.

    you could then probably combine the two together (haven't worked on it yet). But you would start on beat one and end on beat 4 then the next bar you would start on the off beat of one and end on the off beat of 3 etc.
    This is a combination of two BH exercises isn’t it?

  8. #607

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    Quote Originally Posted by christianm77 View Post
    This is a combination of two BH exercises isn’t it?
    Yup!

  9. #608

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    Quote Originally Posted by don_oz View Post
    Pasquale showed me a cool exercise when you run the scales through a tune. Instead of running the scales all starting on beat one, you take off one note at a time from the start of the scale, so you end up starting scales on different parts of the beat.

    E.g for the blues. Bar 1 - C7, you start on beat one and run up C7 from the tonic. Bar 2 - F7, you start on the off beat of beat one which would be starting the scale on the second degree and so on.

    we did this on cherokee and we also did the reverse, where we take off a note at the end of the scale. So you would always be starting on beat one every time you run a scale but ending on a different part of the beat.

    you could then probably combine the two together (haven't worked on it yet). But you would start on beat one and end on beat 4 then the next bar you would start on the off beat of one and end on the off beat of 3 etc.
    Pasquale also demonstrates this exercise in his third My Music Masterclass video, albeit on one chord/scale.

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  10. #609

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    Quote Originally Posted by David B View Post
    Pasquale also demonstrates this exercise in his third My Music Masterclass video, albeit on one chord/scale.
    He definitely does but I never thought to use it to practice running scales on a tune.

  11. #610

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    Excellent