I don’t mind these post-bop oriented lessons at all. On the contrary, they are nice additions to the BGIS course. I may have to archive them for further study later on, but that’s all right.
Great lesson.Keep on with it.The superimposition along with the modes you can derive is great and helps me out with the mental gymnastics required to apply the theory on the spot.Thanks:)
This is actually the major pentatonic that you would extract from the harmonic major. I love this mixed major-minor flavour of the major third and the flatted sixth together. Thanks for posting!
@@guitariste47 harmonic major is Ionian b6 You just have the b6 in the major scale then there is a b6 and 7 just like harmonic minor. There's also harmonic lydian Harmonic phrygian is Neapolitan minor 1 b2 b3 4 b5 b6 7 There is also a Locrian natural 7 (Harmonic locrian?) That has some interesting modes. I worked on harmonic altered some (altered nat 7) 1 b2 b3 b4 b5 b6 7 That's about all them.
When convenient, please clarify whether and how one could use the major flat 6 pentatonic to play over V alt 7 (as opposed to bII7 (= its flat 5 sub)...in your example, please explain how to play over E7 of some flavor, as opposed to Bb7#11, as you did show)...thank you very much...this was excellent!
Sometimes I use a tetratonic scale by dropping the 7th. It sounds different, but similar, and I often just use it as a means of being more cognizant when I’m playing. Too, it makes ur playing sound more angular. (It’s hard to drop the 7th and play a solo lol!)
Lol!...It's a cap that was handwoven in the Andes mountains of Peru almost 40 years ago. I started wearing it to gigs a long time ago and it became my mojo. 😊
@@RichieZellon Thanks for the details about your cap, Richie! Much appreciated!! It's a great looking cap and I can't imagine you NOT wearing it, which is why I asked about it. Great mojo!! 👍👍
Sure, if you want to sound "out"! Otherwise you'd be playing an Eb against the Dm7 which doesn't sound that good if you want to imply the chord sound. Furthermore, the b3 nor b7 of the Dm7 are present in that super-imposition. So its very dissonant.
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This lesson is gold.
My love of all things Abercrombie brings me to your wonderful playing and that tree of knowledge you call your mind. Thank you Ritchie.
Thanks, much appreciated!
great playing using only that b6 scale over ATTYA, that takes some serious work especially on the guitar.
I don’t mind these post-bop oriented lessons at all. On the contrary, they are nice additions to the BGIS course. I may have to archive them for further study later on, but that’s all right.
Great lesson.Keep on with it.The superimposition along with the modes you can derive is great and helps me out with the mental gymnastics required to apply the theory on the spot.Thanks:)
Actually Richie these postbop lessons be blowing my mind so...up to you...
This is actually the major pentatonic that you would extract from the harmonic major. I love this mixed major-minor flavour of the major third and the flatted sixth together. Thanks for posting!
Ive never heard of harmonic major, only minor...
The harmonic major scale certainly exists, although it's considered a bit exotic. The basic modes can go a long ways in jazz.
Also harmonic lydian
@@guitariste47 harmonic major is Ionian b6
You just have the b6 in the major scale then there is a b6 and 7 just like harmonic minor.
There's also harmonic lydian
Harmonic phrygian is Neapolitan minor 1 b2 b3 4 b5 b6 7
There is also a Locrian natural 7 (Harmonic locrian?)
That has some interesting
modes.
I worked on harmonic altered some (altered nat 7)
1 b2 b3 b4 b5 b6 7
That's about all them.
All The Things you are is the tune! Woody Shaw definetly mastered playing "out" but really was "in"
When convenient, please clarify whether and how one could use the major flat 6 pentatonic to play over V alt 7 (as opposed to bII7 (= its flat 5 sub)...in your example, please explain how to play over E7 of some flavor, as opposed to Bb7#11, as you did show)...thank you very much...this was excellent!
Thanks! For an E7alt see 6:04
Thanks Richie! That'e some great playing right there!
Thank you too!
Triads and Pano's , Harps...are great ... should only be used accordingly... nice lesson...
Sometimes I use a tetratonic scale by dropping the 7th. It sounds different, but similar, and I often just use it as a means of being more cognizant when I’m playing. Too, it makes ur playing sound more angular. (It’s hard to drop the 7th and play a solo lol!)
Absolutely! As a matter of fact, the final installment of this series will be on tetratonics.
@@RichieZellon cool!
Post bop baby.
What is the name of the cap that Richie wears? Is it symbolic for something?
Lol!...It's a cap that was handwoven in the Andes mountains of Peru almost 40 years ago. I started wearing it to gigs a long time ago and it became my mojo. 😊
@@RichieZellon Thanks for the details about your cap, Richie! Much appreciated!! It's a great looking cap and I can't imagine you NOT wearing it, which is why I asked about it. Great mojo!! 👍👍
Imagine Richie making a video without the cap? 😯
Oh, my widdle head!
Why can't you play this on the "4" of the ii-7 in the major 2-5? IE 4-5-6-R-b2
In the key of C (D Minor 7) play GMajb6 Pentatonic.
Sure, if you want to sound "out"! Otherwise you'd be playing an Eb against the Dm7 which doesn't sound that good if you want to imply the chord sound. Furthermore, the b3 nor b7 of the Dm7 are present in that super-imposition. So its very dissonant.
@@RichieZellon Thanks for the response! I was thinking this would be an interesting way to imply Dorian b9.