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Originally Posted by ragman1
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03-13-2019 05:56 AM
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What Eb dom????? There's a D7alt (which is Eb MM) at the end of the second teaser. The chords are D69 - Bbo - Am7 - D7alt. There's no Eb dom!
You just like the way he plays. He's not doing anything clever at all. D for D, Bbo for Bbo, Am for Am, D alt for D7alt. That's it. He's just pretty good at playing it, is all.
In fact, it's so simple you could do it yourself. Why not?
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Originally Posted by ragman1
Here's the quote.
However, the chord he's playing at 0:53 (which he identifies only as "this chord") is NOT D 6add9, which is where all the confusion arises. What he's actually playing is
Bb G Db Gb
You can think of this as Eb7#9 with the 5th in the root. (Eb7#9/Bb)
Or as A7b9 with the b9 in the root. (Like the typical A13 shape with the sixth-string root note raised a half-step.)
These are both altered dominants. They're tritone subs for each other.
And the Bb WH dim scale works over both.
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I refuse point blank to start with that malarkey.
I don't 'consider' the given chord to be other than what it is. Why complicate your life and mess up your head? Play what it says, don't invent stuff that isn't there.
If you want to reharm the tune, of course, that's a different matter.
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If the question is whether, or why one can use that symmetrical scale over a major chord...Whatever mister Chico did or not, yes you can. As harmonic movement/dominant tension. To move in and out of. And it obviously requires a certain tempo. Staying on a long D# over D major will likely not sound that good.
The A HW will give you an A7 dominant tension. C# HW will give you a C#7 flavour (dominant to iii, which is pretty much just a first inversion of I maj7). Those two are the most common. Though less common, you can of course use the last HW too if you slide in and out of it in a good way There's a certain logic/chromaticism/tension/ambiguity to this symmetrical scale that makes it fit in many places.
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