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Sounds great, destinytot!
I like to simplify Wave a lot, for soloing. For comping, it's a bossa, and has plenty of information right in it to make it interesting.
For soloing, it is kind of a blues, right?
So I think Dmaj, D7 (b9), Gmaj, Gm6, F#7b13, B9, E9, A7alt, Dm.
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01-29-2017 02:46 PM
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Originally Posted by mr. beaumont
And yes, I agree that it's a kind of blues - and so does BDLH:
Originally Posted by BigDaddyLoveHandles
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@ christian, I am speechless thank you so much for all your help!!!
And this...
https://www.jazzguitar.be/forum/attac...arry-style-jpg
Back to the harmonic implications, you said to use two scales, what if we use only one?
D6diminished scale: D6 = D F# A B
Dbdim7 = Db E G Bb
Related Dominants = C7 Eb7 Gb7 A7
I believe we can compose all the chords using the notes of the related dominants and the D6dim scale
What do you think of this logic?
Thanks.
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Originally Posted by bossa
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Originally Posted by fuzzthebee
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I don't know BH's approach and I might have missed it here, but what is the D6 diminished scale, exactly?
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D major sixth diminished scale.
Yer take a D major 6
D F# A B
and you add one common or garden dim7 chord, on the leading note
C# E G Bb
And make a scale
D E F# G A Bb B C#
You can use this scale to make chord progressions. The obvious one is the four way close and drop 2 block harmony (for the latter think Wes block chords - the former is actually impossible to do on the guitar but common in Big Band arrangements and the piano styles of George Shearing among others.)
Furthermore Barry stipulates that diminished notes will be to some extent dissonant (IIRC) and should be resolved...
E.g.
E G Bb C# - Eo7
E G A C# - A7/E
D G A C# - D(sus4)maj7
D F# A C# - Dmaj7
D F# A B - D6
For more info check out Barry's teaching materials, or Alan Kingstone's book.
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I think i know this one, BigDaddy, but im sure someone can correct me if not:
So you take a D6 (D, F#,A, B)
And a diminished chord based off the maj7 of the "D chord"
So C#, E, G, A#
And make a scale out of it:
D E F# G A A# B C#.
Edit: or I could just type slowly and shut up.
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Wow that was quick! I don't want to think too scalarly, but If I think of alternating back and forth between D6 and A7b9 is that what BH is saying? Tension and release? Seems like standard jazz stuff, as in non-controversial.
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Originally Posted by christianm77
It wouldn't take long to run through the Wave A part twice (with a backing, naturally, so the notes have the right colour behind them) - once using the usual standard stuff and then using the BH 6 stuff so we can see the beautiful difference.
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Originally Posted by ragman1
What do you mean 'do the BH 6th stuff?' lol. The system is somewhat open ended.
I could harmonise a melody in drop2's, walk a bassline with chords, play cadences based on voicings extracted from the maj6 dim scale with some interesting inner voice movement, perhaps even demo some stuff in contrary motion but I've barely tapped the basics.
Perhaps those who have some knowledge of the BH approach could post a study using the concepts?
I could demonstrate the single note improv exercise, but that's pretty boring to listen to. Much better to DO IT and appreciate its value.
If you want to listen to me soloing using the BH approach to linear improvisation, just listen to my live video of my trio. But the chords are not BH really.Last edited by christianm77; 01-29-2017 at 08:29 PM.
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Originally Posted by destinytot
So is this idea only good for chord melody then? Or chordal backing? Or can it be applied to single-note soloing?
How does this stop the player being the prisoner of C6 and Do in various guises?
And does it sound like Wave any more???
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Originally Posted by ragman1
It took me about 10 years to get on top of that, but I am a bit slow sometimes.
This is why I tend not to use BH drop2's for comping. It's flipping difficult. I have adapted his stuff for walking bass with chords and in some cases chord melody and chord soloing.
This guy has it down tho:
Last edited by christianm77; 01-29-2017 at 08:42 PM.
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destinytot -
Sorry, forgot to say thank you for your effort there.
I have to say at this point in time I'm preferring the lush bossa sounds of the original. Don't be offended, nothing to do with your demonstration. But I do think those sounds are hard to beat.
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Originally Posted by ragman1
Not completely incompatible though.
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Originally Posted by christianm77
Much better to DO IT and appreciate its value.
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Originally Posted by christianm77
(edit)
Listened to Slowboat. Sorry, don't like it, there's something missing. I believe Reg said that too over on the other BH thread. See if I can find it.Last edited by ragman1; 01-29-2017 at 09:00 PM.
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He asked for analysis not demonstration. There's two sides to to the BH harmony thing
1) analysing progressions to building block 6-dim scales.
2) building back up using various devices developed from the 6-dim scales.
So.
1)
| D6dim | % | G6dim | % |
| G6 dim | D6dim | F#7-dim | B7-dim |
| E7-dim | A7-dim | Dm6dim | % |
2) is open ended. I could probably demonstrate some basic stuff, but it's not necessarily what the OP asked for.
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Originally Posted by ragman1
Right I will post something tomorrow, I'll see what I can do with this maj6 thang on Wave.Last edited by christianm77; 01-29-2017 at 09:01 PM.
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a) Why is he asking for analysis of a specific part of a tune if he doesn't want to apply it? What's the point?
b) Why are you still up?
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Originally Posted by ragman1
If you don't like the sound of Barry's harmony, then presumably there is not much need for further comment.
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Originally Posted by christianm77
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Originally Posted by ragman1
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(You silly sausage.)
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Originally Posted by christianm77
To me, the best way to get a feel for the "why" of it, is to watch some of his videos. Barry is a great player, and his videos are enjoyable, beyond anything to be appreciated musically.
Anyway, his six diminished scale kind of strikes me as a "major and minor at once" kind of thing. His arguments for it being foundational to western music, as opposed to just "his thing" is at the very least interesting, when you start looking at melody and harmony. My favorite bit from Harris is where he is talking about the scale and says something to the effect of "shame on Chopin and Bach For boiling it down to this ". [Plays basic diatonic major scale whaty whaty.] :-)
Harris is a very good cure for having too many sincere and overly encouraging people in your life. When you need someone in your life to shoot straight, bust your chops, and cut through the BS, Harris is just the curmudgeon for the job. Amazingly, he's always charming in doing so.Last edited by matt.guitarteacher; 01-29-2017 at 09:49 PM.
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