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You can displace how long you use a tonality in regard to the chords beneath. So you can use an altered idea for longer if the chord technically only lasts a measure or half.
Originally Posted by rpjazzguitar
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07-18-2023 12:04 AM
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Fifth page !
Originally Posted by Lionelsax
I love making friends !
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Ur mad at theory.
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the kraken awakes!
Originally Posted by Jimmy Smith
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aren’t most of the guitarists in Nashville Berklee grads?
Originally Posted by BigDaddyLoveHandles
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We should stop judging cowboys.
Originally Posted by Christian Miller
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Isn't (Wasn't?) Bruce Forman working part-time as a Cowboy?
Originally Posted by BigDaddyLoveHandles
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I do the "all by ear" thing. Can't "make" something happen if it doesn't feel natural.
Originally Posted by Jimmy Smith
Not saying that it cant be. Just that 30 years of white keys is hard to push aside.
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Then use ur hear to hear the greats using devices. :P Imo it only benefits your musicality if you can execute the fundamentals.
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Are you sure you want to start this discussion again? No offence meant, although this is a tough one: I get the impression that you simply cannot imagine that there are people who are hearing better than you.
Originally Posted by Jimmy Smith
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I'm inventing a bicycle here. Not a tractor
Originally Posted by Jimmy Smith
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Btw. We need a thread like "i like the alt scale so much but it makes my solos sound too complex! pls help."
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Another way to hear it ...
Record or loop Dm7 G7 Cmaj7. Slowly.
Then, over the Dm7 play the notes of Am, A C E. That will sound like Dm9.
Over the G7, play a Db13 arpeggio. That could be as simple as xx3446, played one string at a time. If you want, wiggle your pinkie to get xx3444. That's the sound of Galt.
Then, over the Cmaj7 play any combination of white keys, but don't lean on the F.
If you want, you can then play something like A7b13 as a quick turnaround back to the original Dm7. And, you can play the alt sound over it by running an Eb13 arpeggio.
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Originally Posted by emanresu
See if changing perspective from alt to LD opens things up.
The LD may be explored by placing its tonic on the roots of
progression degrees b2, 2, b3, 3, 4, b5, b6, 6 and b7. Good
constraint for initial testing and integration is to arp up from
the LD's major third and scale down from its sixth. The LD
contains within it the diminished, augmented, and most of
the whole tone, which means as you hear and grasp the LD
it brings along innate reference to these other sounds, too.
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If you think the greats didn't use devices then you can't hear. I don't care if others want to go on an all ear crusade, but using fundamentals worked for the majority of the greats, and that's what my teacher who is a great tells me to do, so that's what I'll do.
Originally Posted by Bop Head
Last edited by Bobby Timmons; 07-18-2023 at 08:56 PM.
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You mean re-inventing the wheel? :P
Originally Posted by emanresu
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Yeah, we invent bicycles here.
Originally Posted by Jimmy Smith
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I'm surprised nobody talked about pentatonics, I'm sure a lot of people think of pentatonics when they build other scales, it's what I would do if they were my main vocabulary.
I missed at least three or four pages, maybe someone has already posted diagrams and tabs.
Let's wait !
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Uh, reply #5: The Altered Scale is kind of broken
Originally Posted by Lionelsax



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