It boils down to the implications of harmonizing the 6th scale: C-E-G-A D-F-Ab-B E-G-A-C F-Ab-B-D G-A-C-E Ab-B-D-F A-C-E-G B-D-F-Ab When you harmonize a regular 7 note diatonic scale, each scale degree reveals a different chord and chord type, so C gives us Cmaj7, D is D-7, B is Bm7b5, etc. Here is that theory in the briefest of nutshells from a great discussion () at jazzguitar.be: '. On the last Live Lesson, on 16 July, Steve was kind enough to address my question about bebop scales and their application by giving a brief explanation and providing these valuable links (thanks Fabian!) which I thought I'd post here for anyone else interested: PDF: 'swithCopyright/BebopScaleBasics.pdf (link only partial so go to the site and search for bebop scales basics) Youtube: His guest Howard Alden took it a step further and intrigued me by referring to Barry Harris's harmonic theory, which Howard also demonstrated on his guitar. Barry Harris Harmonic Method For Guitar Pdf To Adam 9,1/10 9843reviews
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