Exam ple 5 Har­monised Mi­nor scales

Guitar Techniques - - Play: Theory -

The pur­pose of this ex­am­ple is to high­light both Half-di­min­ished and

Cmaj7 Di­min­ished 7th po­ten­tial in both the Nat­u­ral mi­nor/Ae­o­lian mode and the re­lated Har­monic mi­nor scale. As you can see, the har­monised Ae­o­lian fea­tures a B Half-di­min­ishedΣ sit­u­ated on its sec­ond de­gree, whereas the Har­monic13 mi­nor has both Half-di­min­ished on de­gree II and full Di­min­ished Dm7 11 Em7 Fmaj7 G7 7th lo­cated on de­gree VII. Re­mem­ber that the sym­met­ri­cal na­ture of 13 Di­min­ished12 7 means that this chord can be repli­cated also 12 in mi­nor9 3rds, so

5 8 that G#dim7 has the same notes as B, D and Fdim7.

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