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Originally Posted by BrandonB
The mi-Ma7 chord I would say most commonly used in a series of chord mi, mi-Ma7, mi7, (mi6). You hear it as slash chords and the bass voice running it down, or as an inner voice movement. miMa7 has a nice dissonance to its sound. What I've heard others say that a miMa7 could be carefully used in place of a mi chord except a II chord. On a II the Ma7 is a mi2nd from the root and too much dissonance.
That's my two cents.
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06-17-2013 12:19 AM
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When I want to play a *cool* minor i chord, I often play a min6/9. Maybe I'm just avoiding the whole m7/Maj7 thing.
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Originally Posted by BrandonB
Sometimes better to think of the ii and V as borrowed from HM as opposed to the whole cadence being HM. If you're soloing HM is only one choice to get you through that move, and not always the most interesting.
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Originally Posted by jnbrown
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Originally Posted by coolvinny
At first it was difficult but after a while I got the hang of it.
It seems that it should be easy to play every other note of a scale starting at root notes but it wasn't.
He keeps telling me it is muscle memory and I now am starting to understand that.
I would like to be able play anything without thinking too much about it or hunting for it, but I have a lot of work to do to get there.
He also showed me what you just said, it can sound jazzy with just chord tones.
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HI JNBROWN,Remember that all twelve notes are viable options but there is a hierarchy which changes over each of the chords.Chord tones are the money notes,followed by scale tones and then chromatic tones.But get those chord tones burned into your fingers and brain to start of with.Even among the chord tones not all is equal,the thirds and sevenths are generally considered better choices over the fifth and root(which is normally covered by the bass anyway).Note the use of the word choices,as a wise musician once said,there are no wrong notes,only poor choices.
Moffa Mithra
Today, 08:31 AM in For Sale