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Diminished over 7#9 chords

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  • Diminished over 7#9 chords

    I thought this was a really cool lesson.  Lots of great ideas to play with over the "Hendrix Chord."

    <div class="signaturecontainer">Multiple award winning blues/rock/country at <a target="_blank" href="http://www.zeyerband.com">http://www.zeyerband.com</a> or <a target="_blank" href="http://www.reverbnation.com/zeyer">http://www.reverbnation.com/zeyer</a>.<br>Check my solo (instrumental rock) projects at: <a target="_blank" href="http://www.reverbnation.com/vincedickinson">http://www.reverbnation.com/vincedickinson</a><br><br><br>&quot;Music is like the English language - it's just full of rules that need to be broken or you aren't hip.&quot;</div><br>&quot;It doesn't take talent to upgrade your playing. It takes patience&quot; - Kenny Werner

  • #2

    I love Larry but I'm not really feeling this one

     

    R-Type OST fan here btw, I have an itunes playlist for Super R-Type

     

    Comment


    • 1001gear
      1001gear commented
      Editing a comment

      JamesChin wrote:

      I love Larry but I'm not really feeling this one

       

      R-Type OST fan here btw, I have an itunes playlist for Super R-Type

       




      It doesn't sparkle with jazz magic but to me you get a couple angles to work off.

      1) you can invoke many modal colors with diminished scales

      2) you can apex on wrong notes and still have melodic as well as aural justification

       


  • #3

    Larry is a fantastic player and that Trufire course is really excellent. Highly recommend it to anyone, it's a lot cheaper than a private lesson with Larry and that is pretty close to what you are getting. 

    The diminished scale is a sound I love... My ability to actually use it is sadly not quite clicking at this point. I really need to spend the time getting scales in my ears before i can do anything with them. A work in progress!

    <div class="signaturecontainer"><br>Blog: <a href="http://sixstringobsession.blogspot.com/" target="_blank">http://sixstringobsession.blogspot.com/</a><br><br><a href="http://www.youtube.com/channel/UCyostY3l4lrJ_t-gbFNEsrw?feature=mhee" target="_blank">Subscribe to my YouTube channel</a></div>

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    • 1001gear
      1001gear commented
      Editing a comment

      My problems with diminished scales are staying on the right tetrachords. My ears hear diminished harmony but with a plain minor bias and my fingers act likewise. Even a strictly played whole half, or half whole ( big difference right off the bat ) doesn't guarantee anything more than dark mud. The upside is once you understand the "fit", even that strictly played whole, half or half, whole line can light up colors your ear wouldn't know to look for. Somebody once posted a diminished scale lesson here that exhibited this correct positioning and timing. I wish I could remember the site. The example is a thing of beauty.


  • #4

    I watched the vid a second time, I think my emotional response was the emphasis on the D didn't sit well. I hear it as a great passing note but not a landing note.

    Comment


    • jeremy_green
      jeremy_green commented
      Editing a comment

      JamesChin wrote:

      I watched the vid a second time, I think my emotional response was the emphasis on the D didn't sit well. I hear it as a great passing note but not a landing note.


      It is harsh for sure but I think that is the desired effect. The raised 9 chord has that suspended type sound to me. Him hitting the D does invoke a similar type feeling. Not something you'd likely want to do all the time, but an interesting idea - one which I suspect many wouldn't think to try. Possibly Larry's point in teaching us that.

      The diminished scale for me is easy to get into pattern based stuff - which I don't like to do. Just because of how it is fingered and how it slides around drawing you out of position. I'm still at the over thinking stage with it.

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