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Originally Posted by Basshead
If you have all those tensions the chord scale theory people (not me) use the C altered scale which is basically the 7th mode of C# resp. Db melodic minor, so they use any chord from the C# melodic minor to express the altered C7. Which means you could use any triad on the steps of C#/Db melodic minor to improvise an altered C7 sound: Db– Eb– Fb+ (=E+) Gb Ab Bbdim Cdim. Note that there are neighbour pairs of the same type which might be interesting: two minor triads, two major triads and two diminished triads.
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09-23-2022 02:32 AM
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Originally Posted by Bop Head
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Originally Posted by Bop Head
Gm/M7 - Am7 - BbM7#5 - C7 - D7 - Em7b5 - F#m7b5
So, you know, if you want an altered sound just play an Am7, C7 or D7. No sweat :-)
This is Dm7 - G7 - CM7. I've shoved the G melodic minor up to Ab mel m so we get this:
That BbM7#5 chord is a nice sound, by the way:
xx8775
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Incidentally, since the thread's about triads over m7's, have you seen this? Lots of triads over minor chords.
You might find his solo a little bare because he's using triads all the time for demo purposes. In real life one wouldn't do this, of course, they're used much more sparingly between scale lines and arpeggios, etc.
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Thanks fellas, Ima spend this weekend eating only triads, Db-Eb over G7 sounds like money in the bank to me
Major triads sound or at least work better for me than minor ones in general over any type chord, major, minor7 or dominant.
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