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I think Barry Harris, and everyone else really, incorporates into his approach the fact that any diminished 7 chord actually.is. ![]() My question then is this: if you are improvising over a C7 altered dominant moving to Fmajor, is he saying that you can use all four of the dom 7 chord scales that are based off those roots? C D E F G A Bb Eb F G Ab Bb C Db Gb Ab Bb Cb Db Eb Fb A B C# D E F# G The tensions you get from this approach are: b5, b7, b9, #9, b13, plus the natural 3 and 7 ( I think of the the natural 7 as a passing tone in the dom7th' bebop' scale.) You can get the same tension notes (except the B natural) by playing the altered scale C Db Eb Fb Gb Ab Bb C ( b9 #9 3 b5 #5 b7) So what would be the rationale for incorporating all four of the above mentioned scales into an approach for playing over altered dominants if you can get the same tensions by thinking in terms of one scale instead of four? Pmfan57 23.12.09 10:28. He does this by lowering each note of the diminished chord so for C# dim7 you get C7, Eb7, Gb7, and A7. ![]() ![]() Part of Barry's approach as far as I understand it, emphasizes deriving four dominant chords from a related diminished chord.
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