Members BydoEmpire Posted November 12, 2013 Members Share Posted November 12, 2013 I thought this was a really cool lesson. Lots of great ideas to play with over the "Hendrix Chord." Link to comment Share on other sites More sharing options...
Members JamesChin Posted November 12, 2013 Members Share Posted November 12, 2013 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 Link to comment Share on other sites More sharing options...
Members 1001gear Posted November 12, 2013 Members Share Posted November 12, 2013 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 scales2) you can apex on wrong notes and still have melodic as well as aural justification Link to comment Share on other sites More sharing options...
Members jeremy_green Posted November 12, 2013 Members Share Posted November 12, 2013 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! Link to comment Share on other sites More sharing options...
Members 1001gear Posted November 12, 2013 Members Share Posted November 12, 2013 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. Link to comment Share on other sites More sharing options...
Members JamesChin Posted November 12, 2013 Members Share Posted November 12, 2013 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. Link to comment Share on other sites More sharing options...
Members jeremy_green Posted November 12, 2013 Members Share Posted November 12, 2013 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. Link to comment Share on other sites More sharing options...
Recommended Posts
Archived
This topic is now archived and is closed to further replies.