You've got some great gifts Robin, one is your sublime playing and the other your generous spirit. Thanks, I'm digging this and running. up and down the scales deliriously as we speak.
Hi! The whole of tumb instead of learn a lot of different scales is to play the chord arpeggio four notes (1° , 3° , 5° and 7°) and complete the chord scale with the notes of the tonality. For example: E7 chord arpeggio notes are E, G#, B and D. The other missing three notes to complete the E7 scale are F, A and C. The same notes of the tonality and the same notes of Am harmonic scale. The second example is D7 scale, which chord arpeggio notes are D, F#, A and C (1°, 3°, 5° and 7°). The missing three notes to complete D7 scale are the same of CMajor tonality: E, G and B. The same unaltered notes of the tonality. Lastly, there is the A7 chord arpeggio, which notes are A, C#, E and G (1°, 3°, 5° and 7°). Instead of think in Dm harmonic scale, we can only complete the scale with the three notes that is missing to complete the A7 scale, that are B, D and F. So, we have the same notes of D harmonic minor scale. Only completing the missing notes with the same ones of the tonality.
Oh man thank you very much I just found this, don’t know if it was directly for me but I will take it! Thanks for the courses I am so stocked and learning a lot more now, stay safe Robin.
Great stuff! Makin’ it easy...
zampano00 right on man always trying to simplify! Robin
You've got some great gifts Robin, one is your sublime playing and the other your generous spirit. Thanks, I'm digging this and running. up and down the scales deliriously as we speak.
Bill Haskett thanks Bill I’m really glad it helps! Robin
Thanks a Lot my friend!
Adrian Santana welcome Adrian! Robin
Hi! The whole of tumb instead of learn a lot of different scales is to play the chord arpeggio four notes (1° , 3° , 5° and 7°) and complete the chord scale with the notes of the tonality. For example: E7 chord arpeggio notes are E, G#, B and D. The other missing three notes to complete the E7 scale are F, A and C. The same notes of the tonality and the same notes of Am harmonic scale. The second example is D7 scale, which chord arpeggio notes are D, F#, A and C (1°, 3°, 5° and 7°). The missing three notes to complete D7 scale are the same of CMajor tonality: E, G and B. The same unaltered notes of the tonality. Lastly, there is the A7 chord arpeggio, which notes are A, C#, E and G (1°, 3°, 5° and 7°). Instead of think in Dm harmonic scale, we can only complete the scale with the three notes that is missing to complete the A7 scale, that are B, D and F. So, we have the same notes of D harmonic minor scale. Only completing the missing notes with the same ones of the tonality.
This is great thanks for this insightful and helpful comment José!
Hi Robyn this really helped me unlock the mystery of improv in this song. I can also apply it to other secondary dominant progressions. Thanks ,
Great video that was exactly the content I needed, I learnt so much in only 7 minutes !
glad it helps mate! Robin
Oh man thank you very much I just found this, don’t know if it was directly for me but I will take it! Thanks for the courses I am so stocked and learning a lot more now, stay safe Robin.
perfect Luis stay inspired mate! Robin
This is a useful pattern I'm now experimenting with - Thanks Robin!
Doug Linaker glad it helps mate! Robin
great feature of youtube is to slow down playback on backing tracks, so usefull.
Tony Smith yes very handy Tony! Robin
Merci buddy!
welcome Sam! Robin
nice teaching style 👌🏽👌🏽👌🏽
Gustavo Strauss thanks Gustavo! All the best 🎸❤️Robin
❤
done
cool Thierry, Robin