-
Yes. Their mellow down easy version is one of my favorites. Blues on the Westside with Bloomfield on guitar and Gravenites on vocals is also outstanding.
Originally Posted by wolflen
-
05-27-2026 03:03 PM
-
Of course it helped having bass and drums played by former members of Muddy Waters' band. Originally Posted by DawgBone
-
I like this:
-
No doubt. Originally Posted by wolflen
Of course it helped having bass and drums played by former members of Muddy Waters' band.
@Kris that's a good deal more up my alley, blues-wise.
-
OKAY THAT'S IT! THIS IS VERY, VERY GOOD. IGNORE AT YOUR PERIL SERIOUSLY!
-
I can't believe it took 6 pages, 59 posts, and the invocation of ChatGPT, for someone to mention the word "rotations" Originally Posted by frabarmus
Irrespective of the traditional Greek origins of the word, in modern musicians' colloquial vernacular, the word "mode" is interchangeable with the concept of a "rotation" ...an ordered pitch class series (and/or its inherent ordered interval series) albeit starting on the 2nd, 3rd, 4th, etc. ad infinitum partial is definitely a rotation of the original series (aka, "scale") and commonly also referred to as a "mode" of that series/scale.
No one is asserting that the ancient Greeks were jamming on pentatonics when they talk about the "modes" of the pentatonic scale [sic], they're just using a common synonym.
-
It's a pity that there is no exact relationship between 'pent modes' and chord functions yet. Originally Posted by ragman1
OKAY THAT'S IT! THIS IS VERY, VERY GOOD. IGNORE AT YOUR PERIL SERIOUSLY!
Because that's probably the most important thing for improvisers.
I didn't think that life was that complicated.
I prefer Bergonzzi and Gambale...and Scofield...that is, their way of using and talking about pentatonics.
Good Luck
-
I was actually very serious when I posted that video. It is extremely good. Whoever it is explains pentatonics and pentatonic modes to perfection. He zips through what most other commentators say very quickly and then goes far beyond that level. It's really very well done and worth watching.
Unfortunately, I'm sure it would be very difficult for someone whose native language is not English to really follow easily, if at all, which is a shame. I wish I could change that.
There's also, I realised, a point to his doodling little drawings while he speaks. It's not because he's childish, it's because following what he's drawing focuses the mind and in that state the theory he's describing is easier to grasp at a deeper level. It's a very clever move. I don't know who he is but he's a very smart person.
-
I understood all this. Originally Posted by ragman1
Only in my case I don't need this knowledge.
I've got so much work to do... There is no need to get involved in this great news about pentatonics.
All this takes years of work. Theoretical knowledge must be transformed into practice-playing the guitar.
The fact that I watched the video and understood it was just the beginning of the beginnings.
-
Good, but it's not about you, it's for the people here who are interested in pent modes! Originally Posted by kris
-
I understand that too. Originally Posted by ragman1
Best
Kris
-
Thank you Ragman, it's been a while since I last saw one of his videos... great channel, brilliant theory teacher. A reminder that there's more to music than just functional harmony and Jazz is, possibly, one of the most "open minded" styles of music. Originally Posted by ragman1
OKAY THAT'S IT! THIS IS VERY, VERY GOOD. IGNORE AT YOUR PERIL SERIOUSLY!
-
At 0:9: "quite a while now"... the way he pronounces "now" makes me think he might be Canadian? It's actually quite subtle, but I've noticed that words such as "about" tend to be pronounced in Canadian English almost as "a boat". Originally Posted by ragman1
-
I've looked him up. He's not Canadian, he's American but keeps his personal life quiet so I don't know which state he comes from. He does have a slight accent but I think it'll need another American here to identify it. Originally Posted by frabarmus
States nearest to Canada like Montana, Minnesota and Wisconsin can sound a bit Canadian with the 'boat' sound.
Apparently, do not trust me on it :-)
-
Likely not what is intended in this thread but perhaps of interest to some on the forum:
Looking at pentatonic scales from a broader perspective, they can be created by simply adding one more note of interest to any 4 note arpeggio. So from this perspective C major pentatonic is C6 + D, C minor pentatonic is Cm7 + F.
This approach can be applied to both any 1357 7th chord as well as 7ths based on extensions:
3 5 7 9
5 7 9 11
7 9 11 13
etc.
Any 5 notes that indicate some combination of function and color.
-
Just another idea (maybe good, maybe not) for DawgBone.
-
Do you know old hat this is? Lyd Dom stuff has been around since whenever. In any case, he won't beat that vid I put up the other day. Some of his lines were really juicy.
[In jazz, it's common to play the ii over a dom7 - like, as they do here, Em7 over A7. What changes the ordinary dorian lines on the Em7 (EF#G#ABC#DE) to the lyd dom is sharpening the leading note, i.e. D becomes D# (EF#G#ABC#D#E). So if you play that from the A you get the A lyd dom scale (ABC#D#EF#G#A).
All of which sounds very nice. However, the lydian sound isn't normally played over the I chord, it's played over the IV chord or non-diatonic chords in a progression. There are complex technical theoretical reasons for this and not just because it sounds interesting. Put over-simply, it has a magical effect on non-diatonic chords that brings their tonality back into the tonality of the main progression.
For example, say you had the progression
CM7 - Eb7 - Dm7/G7 - CM7
the main tonality is C, obviously, but the non-diatonic chord there is Eb7. The obvious thing to do is to play the Eb mixolydian sound but to those with ears it won't sound right. What you do therefore is use the ii of Eb7 and play Bb melodic minor (which is Eb lyd dom). The effect is startling because the Ab of Eb grates on the ear but the lyd dom changes it to an A natural. Which brings it back in harmony with the C tonality.
Try it out and you'll see.
But if you say you can't because it's beyond your scope then you've hit a very big nail right on the head about this forum. People will play with things that are somewhat complex when they can't even play the ordinary stuff properly. And I wish they wouldn't. It's not good for them :-)]
But thanks for the vid. Sorry, shot my mouth off there a bit, didn't I?
-
Thought you might like an instant demo. The first Eb9 seems to not quite belong, whereas the second one sounds like it was born there. Such is the power of the lydian effect :-)
-
This sounds like an abomination. Originally Posted by Mick-7
What is that, the aural equivalent of extra-sharp Wisconsin cheddar cheese?
There is no cheddar outside of the UK.
Death to false cheddar.
Sent from my iPhone using Tapatalk
-
No argument, I mean your town is named Cheddar. Originally Posted by Christian Miller
But that Wisconsin cheese, if proper, is rather tasty.
In Vermont they have something called smoked white cheddar. Tastes very good.
-
I like sharp cheddar and ones from vt have been my favorite. I have never heard of london cheese I don't believe it's real tbh
-
And I am glad to see this thread has come to its proper subject.
-
Yes - proper or improper use of modes has no bearing on playing cheesy or hip Originally Posted by joe2758
-
I might be pushing my luck but, as this is a blues-oriented thread, here's a blues clip with the same idea in it. The chords go:
Gm - Eb7 - D7#9 - Gm
So the Eb7 is again the odd one out, not an uncommon move in blues. I'm using the Gm blues pent over the Gm and the D7#9 because that's what's normally done and it works fine.
But, again, what about the Eb7? This has caught many a player out. I've seen it! What would you do? A lot of player just carry on with the Gm blues and it can work up to a point. And you could say nobody really cares anyway, which is probably true.
One idea I've seen is to move the Gm blues up a notch and do that. If Gm works over the D7 then the Abm can work over the Eb7. Logical, right? But it doesn't really, it's just a trick.
So we go back to playing the ii of the Eb7 which is Bbm, and again make it melodic minor with the natural A. Now it sounds right.
-
Cont'd...
What's interesting about this is that in C, like the original example before, the natural A is in tune with C. Now in Gm the A is natural there too and that's why that works and the Ab doesn't.
But say the tonic key has no natural A, then what? Let's say the chords went:
DbM7 - Eb7 - Ebm7/Ab7 - DbM7
Playing the Bb dorian still doesn't work and the melodic minor does. I know, it's crazy. And wonderfully cheesy too :-)
Reply With Quote
“Shearing style”
Today, 05:26 PM in Comping, Chords & Chord Progressions