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Ab MAJOR
Line 1 -Bar 1 (m1):
Beats 1 & 2 - Chromatic
Beats 3 & 4 - ''
Bar 2 (m2):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m3):
Beats 1 & 2 - Lydian Mode
Beats 3 - ''
& 4 - Enclosure of R
Line 2 -Bar 1 (m4):
Beats 1 & 2 - Ab major pentatonic
Beats 3 - Enclosure of 5th
& 4 - major third interval from 4th
Bar 2 (m5):
Beats 1 & 2 - Cm arpeggio
Beats 3 & 4 - Scale
Bar 3 (m6):
Beats 1 & 2 - Fm11 arpeggio
Beats 3 - ''
& 4 - First half of "6th lick"
Line 3 -Bar 1 (m7):
Beats 1 - ''
& 2 - Ab major pentatonic
Beats 3 - ''
& 4 - Scale
Bar 2 (m8):
Beats 1 & 2 - Chromatic
Beats 3 - ''
& 4 - Enclosure of 6th
Bar 3 (m9):
Beats 1 & 2 - Fmin7 arpeggio
Beats 3 - Minor third interval from #5th
& 4 - Enclosure of 5th
Line 4 -Bar 1 (m10):
Beats 1 & 2 - "3rd lick" enclosure
Beats 3 & 4 - Cm7 arpeggio
Bar 2 (m11):
Beats 1 & 2 - Fm7 arpeggio
Beats 3 & 4 - Enclosure of 3rd
Bar 3 (m12):
Beats 1 & 2 - Fsus (2+4) arpeggio
Beats 3 & 4 - ''
Line 5 -Bar 1 (m13):
Beats 1 & 2 - Ab major pentatonic
Beats 3 & 4 - ''
Bar 2 (m14):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m15):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
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07-17-2023 12:47 PM
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Points of interest:
The author heads straight for the Lydian mode (line 1, bar 3), where, in previous exercises, he waits until the final measures to insert Lydian.
The first half of our old friend "6th lick" shows up again (line 2, bar 3).
The "3rd lick" enclosure hasn't been seen for the last several exercises - 5th, 4th, then chromatic up from the 2nd to land on the 3rd. I need to look at that section and compare it back to earlier exercises.
The wide intervals of line 4, bar 3 spell out an Fsus chord with both the 2 and 4 present. I could have labeled that Fsus(add9) or something, but I just see it as suspending the 3rd in both directions (2+4).
.
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Ab MAJOR continued
Line 6 -Bar 1 (m16):
Beats 1 & 2 - Ab major hexatonic (major pentatonic with major 7 added)
Beats 3 & 4 - ''
Bar 2 (m17):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m18):
Beats 1 & 2 - Chromatic
Beats 3 & 4 - Eb dominant pentatonic (1 2 3 5 b7)
Line 7 -Bar 1 (m19):
Beats 1 & 2 - Chromatic
Beats 3 & 4 - Scale
Bar 2 (m20):
Beats 1 & 2 - Chromatic
Beats 3 - ''
& 4 - Enclosure of 6th
Bar 3 (m21):
Beats 1 & 2 - Scale
Beats 3 & 4 - "Blues" scale
Line 8 -Bar 1 (m22):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 2 (m23):
Beats 1 & 2 - ''
Beats 3 & 4 - Ab major pentatonic
Bar 3 (m24):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 9 -Bar 1 (m25):
Beats 1 & 2 - 5ths ascending by 4ths
Beats 3 & 4 - ''
Bar 2 (m26):
Beats 1 & 2 - Scale sequence
Beats 3 & 4 - ''
Bar 3 (m27):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 10 -Bar 1 (m28):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 2 (m29):
Beats 1 & 2 - Ab major pentatonic
Beats 3 & 4 - Side slip
Bar 3 (m30):
Beats 1 & 2 - 5ths ascending by b5ths
Beats 3 & 4 - ''
Line 11 -Bar 1 (m31):
Beats 1 & 2 - ''
Beats 3 & 4 - 5ths and 4ths
Bar 2 (m32):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m33):
Beat 1 - Root note
.
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Points of interest:
Most of the second half of this exercise is just scale sequences and interval sequences. Two spots stand out as unique, though.
Line 6, Bar 3 - This could probably be seen in different ways, but I've been working with the dominant pentatonic (1 2 3 5 b7), so that's what I gravitated to.
Lines 7 & 8 - I just labeled this as "blues" scale. You could look at it as F minor blues (relative minor) 1 b3 4 b5 5 b7 or Ab major blues 1 2 b3 3 5 6. You get to the same notes either way.
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Hello,
Originally Posted by FwLineberry
I've been taking a look at your analysis, it's very detailed. I have to pay more attention to the insertion of the Lydian mode and the licks that you have previously identified. In any case, I don't see notable differences compared to my analysis. I'm going to start the Db Major exercise.
Greetings!
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Db MAJOR
Line 1 -Bar 1:
Beats 1 & 2 - Chromatic approach to the 3rd Followed by Chromatic from the 6th down to the 5th
Beats 3 & 4 - Db major pentatonic
Bar 2:
Beats 1 & 2 - Dbmaj7 arpeggio
Beats 3 & 4 - Scale with Cb passing tone
Bar 3:
Beats 1 & 2 - Scale
Beats 3 & 4 - Enclosure of 5th and approach note to...
Line 2 -Bar 1 (m4):
Beats 1 & 2 - "6th lick" variation from the root
Beats 3 & 4 - ''
Bar 2 (m5):
Beats 1 & 2 - Fm7 arpeggio
Beats 3 & 4 - Dbmaj7 arpeggio
Bar 3 (m6):
Beats 1 & 2 - Scale with Cb passing tone
Beats 3 & 4 - Scale with A passing tone
Line 3 -Bar 1 (m7):
Beats 1 & 2 - Scale with Fb passing tone
Beats 3 & 4 - Scale with D passing tone
Bar 2 (m8):
Beats 1 & 2 - Enclosure and scale notes
Beats 3 & 4 - Db major pentatonic
Bar 3 (m9):
Beats 1 & 2 - Enclosure
Beats 3 & 4 - Db major pentatonic
Line 4 -Bar 1 (m10):
Beats 1 & 2 - Enclosure
Beats 3 & 4 - Dbmaj7 pivot
Bar 2 (m11):
Beats 1 & 2 - Enclosure
Beats 3 & 4 - Db arpeggio and approach note to...
Bar 3 (m12):
Beats 1 & 2 - Bbm7 arpeggio
Beats 3 & 4 - C blues Scale ??
Line 5 -Bar 1 (m13):
Beats 1 & 2 - Approach note to Aº arpeggio
Beats 3 & 4 - Enclosure and scale notes
Bar 2 (m14):
Beats 1 & 2 - Chromatic
Beats 3 & 4 - Db major pentatonic ending in ascending 4th leap
Bar 3 (m15):
Beats 1 & 2 - Chromatic approach into descending 4th leap
Beats 3 & 4 - Scale
.Last edited by FwLineberry; 08-26-2023 at 11:44 PM.
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Welcome back to the continuation of this study thread.
This Exercise has some strange parts in it that are tough to identify clearly, but also has many of the same types of ideas present n all the other exercises, so far.
Points of interest:
Our old friend the "6th lick" shows up again (line2, bar 1, m4) but, once again, played off the root instead of the 6th and the final note of the lick changed to land a whole step lower than expected.
Line 4, bar 3, m12 has the notes of a C blues scale, but I have no idea what the author was thinking, there, or where the A° arpeggio in the next measure comes from.
The first part of line 5, bar 3, m15 can also be seen as notes of the C major blues scale.
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Welcome back! Here is my analysis. Extrange exercise.
Db MAJOR
Line 1
M1:
B1 : chromatic approach to the 3rd of Db Major (F), the same that in the previous (Ab Major) exercise.
B2-3: chromatic
B3-4: scale tones
M2:
B1 - 2: Db
B3-4: chromatic
M3:
B1-2: scale tones
B4: enclosure to Db
Line 2
M4:
6th lick
M5:
B1-2: Fmin7
B3-4: Db
M6:
Chromatic
M7:
Chromatic
Line 3
M8:
B1: enclosure
B2-4: Bbmin scale
M9:
B1-2: enclosure
B3-4: Db pentat. Scale
M10:
B1-2: enclosure to Db
B3-4: Fmin
M11:
B3-4: Db
Line 4
M12:
B1-2: Dm
B3-4: chromatic
M13:
B1-2:Am
B3-4: chromatic
M14:
B1-3: chromatic (except for the Gb)
B3-4: Bbmin7
M15:
B1: Bmin7 (cont.)
B2-3: Cº
B3-4: scale tones
Line 5
M16:
B1: scale tones
B2-4: start a phrase based in a treble pedal note (tonic) alternated with two descending chromatic notes, creating a hemiola that can be considered a insertion of three 6/8 measures.
M17
Cont. the last idea
M18
B1: end the hemiolic phrase
B2-4: chromatic
M19:
B2-4: 8va lower phrase repetition.
Line 6
M20:
Cont. the last idea
M21:
Dº scale
M22:
B1-2: Db 5aug scale
B3-4: Ab7
M23:
B1-2: Fmin7
B3-4: scale tones
Line 7
M24:
Chromatic,including some maj 2nd intervals
M25 (6/4):
B1-4: Db pentat. scale
B5-6: Fmin7
M26 (4/4):
B1-3: chromatic
B4: scale tones
M27:
B1-3: chromatic
B3-4: scale tones
Line 8
M28-29:
Last idea 8va higher repetittion
M30:
Scale tones
M31:
Starts here a passage based in a reiterated direct modulation between Db and C (its V grade, G Maj), anternating Major 3rds and ascending os descending scale tones
Line 9
M32-34:
Cont. last passage
M35
B1: end of passage
B3-4: Db (+9 +11 +13)
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Db MAJOR continued
Line 6 -Bar 1 (m16):
Beats 1 & 2 - Descending chromatic line with pedal point
Beats 3 & 4 - ''
Bar 2 (m17):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m18):
Beats 1 & 2 - ''
Beats 3 & 4 - Chromatic
Line 7 -Bar 1 (m19):
Beats 1 & 2 - Descending chromatic line with pedal point
Beats 3 & 4 - ''
Bar 2 (m20):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m21):
Beats 1 & 2 - Slonimsky pattern ??
Beats 3 & 4 - ''
Line 8 -Bar 1 (m22):
Beats 1 & 2 - Ebn7b5 arpeggio
Beats 3 & 4 - Ab7 arpeggio
Bar 2 (m23):
Beats 1 & 2 - Fm7 arpeggio
Beats 3 & 4 - scale
Bar 3 (m24):
Beats 1 & 2 - Whole steps descending chromatically
Beats 3 & 4 - ''
Line 9 -Bar 1 (m25):
Beats 1 & 2 - Scale sequence
Beats 3 & 4 - ''
Beats 5 & 6 - ''
Bar 2 (m26):
Beats 1 & 2 - Ascending chromatic
Beats 3 & 4 - Ascending chromatic continued ending in descending 3rd
Bar 3 (m27):
Beats 1 & 2 - Ascending chromatic
Beats 3 & 4 - Ascending chromatic continued ending in descending 3rd
Line 10 -Bar 1 (m28):
Beats 1 & 2 - Ascending chromatic
Beats 3 & 4 - Ascending chromatic continued ending in descending 3rd
Bar 2 (m29):
Beats 1 & 2 - Ascending chromatic
Beats 3 & 4 - Ascending chromatic continued ending in descending 3rd
Bar 3 (m30):
Beats 1 & 2 - Intervallic pattern
Beats 3 & 4 - ''
Line 11 -Bar 1 (m31):
Beats 1 & 2 - Start of a bizarre sequence of major dyads ascending and descending by diminished 5ths
Beats 3 & 4 - ''
Bar 2 (m32):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 3 (m33):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Line 12 -Bar 1 (m34):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 2 (m35):
Beats 1 & 2 - Db major dyad and rest
Beats 3 & 4 - Db7alt chord
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Points of interest:
Line 7, bar 3, m21 looks like something out of Nicholas Slonimsky's Thesaurus of Scales and Melodic Patterns. I'd have to dig out my copy to check.
Line 8, bar 1, m22 borrows the ii V from the parallel minor.
Line 9, bar 2, m26 - the descending 3rds at the end of each chromatic line spell out C minor pentatonic. Minor pentatonic from the major 7 is an oft used way of implying the Lydian mode. This could, possibly, tie into the C blues scale notes used earlier in the exercise.
The ending of this one is just strange. It goes out and never comes back.
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I completely misread the first two beats of this measure and have been practicing the wrong notes. I had it as a Bm7 arpeggio. I'm not sure how you see this as Dm, though. It look like just a Db triad arpeggio with the 4th (Gb) added as an approach note into the triad and out of the triad into the next group of notes. (Gb F Db Ab Gb) Originally Posted by Travelrock
Can you explain your reasoning on these two measures. I can see the Bbm7 if you allow for the chromatic notes at the start of m15 to be seen as an enclosure of the 5th of the arpeggio, but I'm not seeing the C°. Originally Posted by Travelrock
Aside from those two spots, it looks like we pretty much agree on the bulk of the exercise.
Now, on to the dominant chord exercises!
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I am 68, retired, have played drums since I was 12, can read music, can transcribe max roach solos by ear, have played vibraphone. I got a guitar years ago and quit because the neck is so confusing (middle C in multiple locations?). I am giving guitar another stab because I love Charlie Christian, Wes Montgomery,etc. I just bought all the Galbraith series. I understand tablature, but It does not seem to help my reading because I look at those fret numbers more than the actual staff with the notes. I think it is nice that you cats are trying to analyze these exercises harmonically, but what I would really appreciate is position markings because Barry’s fingerings are very sparse. I kind of glanced at exercise one and got frustrated real quick because it’s hard to know how to shift from lower positions to higher note positions. I don’t want to plot it out in tab because that defeats the reading aspect! I would appreciate just position markings per bar, then with a fingerboard chart as back up (which a friend gave me from an OLD Wes Montgomery book), I can actually use my old brain to figure out the notes in that position of the neck. I am working out of the Ted Greene single note soloing volume one, and he has too many fingerings, because then I am just looking at the fingering and not focusing on the notes! Now I understand why most guitar players I have worked with over the years were not great readers! Put a chord chart in front of them and they were good to go, put a melody line in front of them and things slowed down instantly. The neck is a maze to me, I hope to figure it out before I croak!
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Dear FwLineberry, Originally Posted by FwLineberry
It seems we agree on the bulk of the Db Maj exercise. There are some differences, mostly due to my oversights. The main differences I see are:
M5: I missed the C. It's Dbmaj7
M8: I see an enclosure with an intention to the relative minor scale
M9: mistakenly interpreted Fmin, but a Dbmaj7 seems more coherent
M12: I wanted to write Db, by mistake I wrote Dm, sorry
M14: I misread the G, it's not Bb
M15: the notes Gb-C-Eb form the Cº arpeggio in second inversion. It's only three notes, but these intervals seemed to me to have that personality.
M22: I don't see the Ebmb5 arpeggio.
As for the new exercise D7, I didn't expect it to be so complex, I don't know if I'll be able to analyze it, but I'll try!
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I feel identified with everything you say. As the musician that you are, you know that patience opens the way. Originally Posted by nakim55
The guitar fingerboard is a world, although unlike the real world, it has repeated places. I think the ideal is to start getting to know the world by taking the bus with the closest route, to later reach exotic countries over time. At least for me, that's the way to travel
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Originally Posted by Travelrock
I can agree with m8.
m15 - I'm not seeing a Gb there. Eb E F C, then descending the scale from Eb
m22:
Db = b7
Eb = R
F# (Gb) = b3
A (Bbb) = b5
.
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Originally Posted by nakim55
If you skip to page 18, where the author provides his own fingerings, there's enough information there that you should be able to work out the positions on the fretboard.
Measure 1 starts with the 2nd finger playing the G note on the 6th string. That puts your hand in position II. From there. everything is played in the same position until a fingering or string indication suggest something different.
At measure 5, the fingering indicates 1 4 1 4. In order to play the F# note with your 1st finger and the A note with your 4th finger, you have to shift up to position IV.
Once in position IV, you stay there until the next indication.
Measure 6 shows using the 1st finger to play A# and B. You have to stretch the finger out of position to play the A# then back into position with a slide to play the B, C and C#. The D is indicated with your 3rd finger, so you shift the third finger up one fret putting you in position V to finish the measure and begin the next measure.
At measure 7, the C# is indicated with your first finger. That puts you back in position IV to finish out the measure and the next measure, as well,
Measure 8 indicates that you move to position VI to play the A# with your 3rd finger on the 4th string. The D is indicated with your 1st finger, so you shift up to position VII to finish out the measure.
I'd suggest you try working out the positions and fingerings this way. Work slowly, and if you run into something you can't work out, ask about it in this thread. I'd be glad to help you out, and I'm sure others would be as well.
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Thanks, I will look ahead.
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M15: a misreading, sorry Originally Posted by FwLineberry
M22: yes, thank you
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D7
Line 1
M1:
B1-3: Am9
B3-4: enclosure
M2:
B1 - 2: Cmaj7
B3-4: Gmaj scale tones
M3:
B1: enclosure
B2-3: Cmaj
B4: chromat.
Line 2
M4:
B1: chromat.
B2-3: Gmaj scale tones
B4: Em
M5:
B1: Em (cont.)
B3-4: chromatic, starting in C and ending in C from a perfect fifth
M6:
B1-2: C# blues scale tones
B3-4: Gmaj scale tones
Line 3
M7:
B1-2: C# blues scale tones
B3-4: Am9
M8:
B1-2: B
B2-4: chromatic
M9:
B1-2: Ab
B3-4: Ab
Line 4
M10: Cº scale tones
M11:
B1-3: Ebm(maj7)
B3-4: Ebm scale tones ending in enclosure
M12:
B1-2: Eb
B2-4: Cº scale tones
Line 5
M13:
B1-2: Dmaj(+5)
B3-4: Gmaj scale tones (orbiting on A)
M14-15: Am scale tones (cont.)
Line 6
M16:
B1-2: Am
B2-4: Ab
M17
B1-2: chromatic
B2-4: Gmaj scale tones (orbiting on A)
M18
B1-3: Gmaj scale tones (orbiting on A) (cont.)
B4: enclosure
Line 7
M19:
B1: A (conection with the last scale and 5th of D7 chord)
B2: enclosure
B3-4: Gmaj scale tones, starting in F# (3dr of D7 chord)
M20:
B1-2: Gmaj scale tones
B3-4: Cmaj7
M21:
B1-2: Gmaj scale tones (starting in the last M20 note)
B3-4: parallel movement 1st down (starting in the last B2 note)
Line 8
M22:
B1-2: Gmaj scale tones
B3-4: Ebmaj7
M23-24: sequence (2nd minor - perfect 4rd - 3rd major)*
Line 9
M25:
B1-3: Descending fourths endind in Eb
M26:
B1-2: Ebm
B3-4: Cº scale tones
M27:
B1-2: Ebm
B3-4: Cº scale tones
Line 10
M28:
B1-2: Cº scale tones (cont.)
B3-4: Dmaj(+5)
M29:
B1-2: chromatic
B2-4: Gmaj scale tones
M30:
B1: Gmaj scale tones (cont.)
B2-4: Cº scale tones
Line 11
M31:
B1-3: Cº scale tones (cont.)
B3-4: chromatic
M32:
B1-2: Am(maj7)
B3-4: Gmaj scale tones
M33: Cº scale tones
Line 12
M34: Cº scale tones (cont.)
M35:
B1-2: Bm7
B3-4: Gmaj7
M36: A
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POINTS OF INTEREST
M9-10: first modulation to Dbmaj, with abundant use of Cº (VII) scale.
M22-23: after resume the original key, second modulation to Dbmaj, with abundant use of Cº (VII) scale.
M23-24: this idea is similar to what we found in Abmaj exercise, M21.
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D7
Line 1 -Bar 1:
Beats 1 & 2 - Am7 arpeggio
Beats 3 & 4 - Scale
Bar 2:
Beats 1 & 2 - Cmaj7 pivot
Beats 3 & 4 - Scale
Bar 3:
Beats 1 & 2 - Enclosure into Cmaj7 arpeggio
Beats 3 & 4 - Cmaj7 continued with passing tone into...
Line 2 -Bar 1 (m4):
Beats 1 & 2 - D Lydian Dominant scale
Beats 3 & 4 - C major pentatonic
Bar 2 (m5):
Beats 1 & 2 - Chromatic
Beats 3 & 4 - Chromatic ending in 4th interval
Bar 3 (m6):
Beats 1 & 2 - Enclosure
Beats 3 & 4 - Scale
Line 3 -Bar 1 (m7):
Beats 1 & 2 - Enclosure
Beats 3 & 4 - Am triad pivot
Bar 2 (m8):
Beats 1 & 2 - B triad
Beats 3 & 4 - Chromatic
Bar 3 (m9):
Beats 1 & 2 - Ab triad
Beats 3 & 4 - Approach note into Ab triad
Line 4 -Bar 1 (m10):
Beats 1 & 2 - D Half whole diminished scale
Beats 3 & 4 - ''
Bar 2 (m11):
Beats 1 & 2 - Ebm/maj7 arpeggio
Beats 3 & 4 - Arpeggio continued and enclosure into...
Bar 3 (m12):
Beats 1 & 2 - Ebm/maj7 arpeggio
Beats 3 & 4 - D altered scale
Line 5 -Bar 1 (m13):
Beats 1 & 2 - D+ triad
Beats 3 & 4 - Scale
Bar 2 (m14):
Beats 1 & 2 - ''
Beats 3 & 4 - D major pentatonic
Bar 3 (m15):
Beats 1 & 2 - D major pentatonic continued into two notes of D whole tone scale
Beats 3 & 4 - Am9 arpeggio
Line 6 -Bar 1 (m16):
Beats 1 & 2 - ''
Beats 3 & 4 - Ab triad
Bar 2 (m17):
Beats 1 & 2 - Chromatic
Beats 3 & 4 - Scale
Bar 3 (m18):
Beats 1 & 2 - G major pentatonic
Beats 3 & 4 - Minor 3rd interval and enclosure into...
.
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D7 continued
Line 7 -Bar 1 (m19):
Beats 1 & 2 - Minor 3rd interval and enclosure to...
Beats 3 & 4 - Scale
Bar 2 (m20):
Beats 1 & 2 - Scale continued
Beats 3 & 4 - Cmaj7 arpeggio
Bar 3 (m21):
Beats 1 & 2 - D major pentatonic leading into...
Beats 3 & 4 - Ab major pentatonic
Line 8 -Bar 1 (m22):
Beats 1 & 2 - Scale
Beats 3 & 4 - Ebmin7 arpeggio
Bar 2 (m23):
Beats 1 & 2 - D half/whole diminished scale
Beats 3 & 4 - ''
Bar 3 (m24):
Beats 1 & 2 - ''
Beats 3 - ''
& 4 - Ab major pentatonic in wide intervals
Line 9 -Bar 1 (m25):
Beats 1 & 2 - ''
Beats 3 & 4 - ''
Bar 2 (m26):
Beats 1 & 2 - Ebm/maj7 arpeggio
Beats 3 & 4 - D altered scale
Bar 3 (m27):
Beats 1 & 2 - Ebm/maj7 arpeggio
Beats 3 & 4 - D altered scale
Line 10 -Bar 1 (m28):
Beats 1 & 2 - Scale
Beats 3 & 4 - Scale into D+ triad
Bar 2 (m29):
Beats 1 & 2 - Chromatic notes into 4th interval (same lick as m5)
Beats 3 & 4 - Diatonic 3rds
Bar 3 (m30):
Beats 1 - ''
& 2 - enclosure into...
Beats 3 & 4 - "3rd enclosure"
Line 11 -Bar 1 (m31):
Beats 1 - Minor 3rd interval
& 2 - Enclosure
Beats 3 - Major 3rd interval
& 4 - Chromatic
Bar 2 (m32):
Beats 1 & 2 - Am/maj7 arpeggio
Beats 3 & 4 - D Lydian dominant scale
Bar 3 (m33):
Beats 1 & 2 - C+maj7 arpeggio
Beats 3 & 4 - Scale
Line 12 -Bar 1 (m34):
Beats 1 & 2 - D altered scale
Beats 3 & 4 - Cm7b5 arpeggio
Bar 2 (m35):
Beats 1 & 2 - Bm7 arpeggio
Beats 3 & 4 - Gmaj9 arpeggio
Bar 3:
Beats 1 & 2 - ''
Beats 3 & 4 - ''
.
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Whew! There's a lot going on in this latest exercise...
Most of the outside playing can be seen as tools commonly used over dominant chords:
- diminished scale a half step above the root (or h/w diminished from the root)
- major triads from the diminished scale repeating in minor 3rd intervals (D, B, Ab, F)
- melodic minor scale a half step above the root (or altered scale from the root)
- melodic minor scale from the 5th (or Lydian dominant from the root)
- major pentatonic from the b5th
- whole tone scale from the root
- augmented triads from the whole tone scale repeating in major 2nd intervals (D+, E+, F#+, G#+, A#+, C+)
- chromatic enclosures and approach notes
Some other outside things I don't have a good explanation for:
- the chromatic licks in mm5-6 and m29
- Cm7b5 arpeggio in m34
As a general point of interest, The "3rd enclosure" in m30 is the same lick that showed up in a few of the major chord exercises - 5th, 4th, then chromatic up from the 2nd to the 3rd. It's interesting to note that this enclosure is set up with an enclosure.
I'm convinced that each of these dominant chord exercises end by resolving to the intended tonic chord - Bm7 and Gmaj9 arpeggios in the final two measures for this one.
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Caramba! I have to learn all the references and tools that you have described, which I did not know. I want to see how all of that fits in with my basic analysis. Originally Posted by FwLineberry
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Originally Posted by Travelrock
G to C is a perfect fourth.
Originally Posted by Travelrock
I didn't see the blues scale connection here. It definitely sounds like that might be where that's coming from. I had absolutely no idea how to see this section.
Originally Posted by Travelrock
How did you arrive at C°, here? C° is the same notes as D h/w diminished or Eb°. I'm just wondering how you ended up thinking about it as being based on C.
Originally Posted by Travelrock
Did you mean Ebm7, here? Bb Gb Eb C#(Db)
Originally Posted by Travelrock
The G is still sharp in the second half of the measure, so G major scale doesn't work, here. I see this entire measure as coming from A melodic minor (D Lydian dominant).
Originally Posted by Travelrock
C° would have an Eb. I'm seeing the first half of this measure as a continuation of Ab melodic minor. C E G# B
Originally Posted by Travelrock
C° works for the first half of the measure but would need B natural for the second half of the measure. I'm seeing Cm7b5, here Bb Gb Eb C, which I just realized is coming from Eb melodic minor (Db altered scale).
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