SCALEE4x­aamLptleEr4:EdEAdl­to­er­med­inDoamn­in­taSn­tCaLE (E)

Guitar Techniques - - PLAY|10 WACKY SCALES! -

Su#per­locrian, Al­tered, Ravel, Pomeroy, Di­min­ished Whole tone, Locrian (7th mode of Melodic mi­nor)

maoex­i­moeumb dom­boeoein­ban­noet R- 2- 3- 4(3)- 5- 6- 7

foeor re­solvin­n­goe­t­onaoeI Play the scale over a chord dis­so­nance, par­tic­u­larly if the chord is chord (eg E7-A), or the chord spell­ing in­cludes al­tered in­ter­vals, or ‘alt’ sym­bol.

No clear melodic ex­am­ples but an em­bed­ded part of stan­dard and con­tem­po­rary jazz and fu­sion vo­cab­u­lary. This scale can be thought of as a1 Ma­jor sB­cale with ev­ery de­gree but the root down a semi­tone. The odd re­sult of this is thDa3t the flat­tened104th a6­ma­jo05r 3r2d3, th3e2s­cale0 now has the (im­pos­tor) 3rd and – th0e es­1sen­t3ial c4om­p1one3nts of a dom­i­nant 7th chord.

Aka: Con­struc­tion: Har­monic us­age:


,oe#9,#4/ Along with th­ese de­grees are all the ‘al­tered’ and dis­so­nant ex­ten­sions to the oe­dom­i­nant

chord ( 5, 6). It is the ul­ti­mate scale for cre­at­ing dis­so­nance on the dom­i­nant 7th chord, while still main­tain­ing its es­sen­tial func­tion.

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