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I think you should more and more be able to hear things w/o a backing track, be it Aebersold, BIAB, iReal or your own loop. The scale outlines outline (as the name says) a chord by its chord tones and its "vanilla" passing/neighbour notes. The aim should be to hear the chord changes in your head when you play the scale outlines because the scale outlines outline the changes for you.
BTW according to Richie Hart Berklee scales started as scale outlines for non-chordal instruments in order to learn the changes. The beauty of Barry's scale outline is that you do not need to remember thousands of scales with all those exotic or at least Greek names and that you can work from fingerings that are part of the very basic major and minor scales.
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07-14-2023 01:55 AM
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Originally Posted by ragman1
"On E7 play xxx mixo"
it sounds like you misunderstood something completely. What you are playing has nothing at all to do with the basic scale outlines rintincop posted. Which could actually be interpreted as harmonic minors. Barry's outlines for minor II-Vs (or dominants leading to minor in this case) are simply an elegant way to circumnavigate the augmented second while using the dominant scale fingering a minor third above sharpening one note.
(Although I disagree with him on the Dm7 as I already stated. A Dm7 can be three different things in three different keys: IIm7, IIIm7 or VIm7. I hear it as VIm of F major here and not as a IIm of C.)
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Originally Posted by ragman1
One of the last things I learned from his was to play C# major into Dm…
It all sounds great
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Originally Posted by Christian Miller
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Originally Posted by djg
the thing is it contradicts the Holy Scripture
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Originally Posted by ragman1
C E7b9 A7b9 Dm6 E7b9 Am7 D9 G9
soet of tonality
but it’s really up to the soloist. Best to listen to a few versions and see what the real guys get up to, so often it’s much more interesting than what we think is the best solution from applied theory.
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It's true about the masters, you can really learn a lot. It's enough to analyze, for example, this.
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YES, Kris! Absolutely. That's the way to do it. Thanks for finding that. Excellent.
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Originally Posted by Bop Head
I suppose I could do another one...
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Originally Posted by Bop Head
it sounds like you misunderstood something completely. What you are playing has nothing at all to do with the basic scale outlines rintincop posted.
Which could actually be interpreted as harmonic minors. Barry's outlinesLast edited by ragman1; 07-14-2023 at 09:02 AM.
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Originally Posted by Christian Miller
C E7b9 A7b9 Dm6 E7b9 Am7 D9 G9
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It's a bit early for me but here it is. Bop can just shut out the backing to see if he can hear the changes...
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And, while I'm at it, here's the backing by itself. It's more or less in concert :-)
You can use it for your musical examples which I know you can't wait to do. It's slowish so we can hear it. No zooming along at 100mph so we can play strange stuff and hope no one notices...
C'mon Bop, you can do it!
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Originally Posted by ragman1
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You will, Oscar, you will
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Again — this place is so weird.
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Originally Posted by pamosmusic
Personally I realised that about 7-note scales long ago and instinctively either added a note, doubled up on a note, made one of the notes a quarter, or simply left an 8th gap in the phrasing, usually at the beginning of the bar. Works a treat, no problem.
So our Barry apparently invented some earth-shattering new theory with strange names like the Barry Harris Sixth Diminished scale. But all it means is he stuck in a passing note in a major scale by flattening the 6th, like C B A Ab G F E D C. And, yes, I know what happens when that scale is harmonised: 6-dim-6-dim, etc.
In any case, you don't need to use harmonic minors. Also, you can add in any passing note, it doesn't have to be the 6th.
I know, I'm not being very nice about it and it will undoubtedly upset his disciples. Too bad, I'm afraid, but the facts are the facts.
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I tried to hit some of the Mixo stuff.
Dropbox - AOM for Ragman.m4a - Simplify your life
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Hey, good man! Thanks, Allan. Well, I have to say there were no great clashes. Can you say what subs you were using over what?
I liked the little chromatic touch at the end too. Creative :-)
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Originally Posted by pamosmusic
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Originally Posted by ragman1
Also … to be really blunt. You say the facts are the facts. But there are no facts in music theory. If it sounds good, it sounds good. A good player with good vocabulary can make just about anything sound good. The theory is an ex post facto way to categorize it and find it again later. So when someone plays something and says “see it sounds bad!” It doesn’t tell me that the theory doesn’t work, it tells me that the player hasn’t spent enough time with the theory to make it work.
EDIT … and weird as I find all this, my video is currently uploading. I do appreciate your patience in this matter.Last edited by pamosmusic; 07-14-2023 at 11:16 AM.
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Originally Posted by ragman1
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Again … I find this weird … but also I do think playing guitar is fun.
I also got this Epiphone Dot literal hours ago and it needed a little test drive.
CAVEAT — any idea will sound obnoxious when you use it over and over again, which I did. Also I used the Gb/F# as many times as possible, I think probably every single time the G7 came around.
EDIT: I like the video, so I edited out the introduction to make it comprehensible to people not involved in this rambling thread.Last edited by pamosmusic; 07-16-2023 at 05:32 PM.
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I give up :-)
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