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Charles Meadows wrote: »
I found it really cool to see that Stochelo plays his ascending diminished runs as sequential 2 note sweeps using all downstrokes. Made it much easier.
wimglenn wrote: »
Had another "aha!" moment the other day, when looking at the chord harmonisation of melodic minor scales. There's a neat trick that was shown to me by a friend who plays cavaquinho that I thought I should share here.
I assume everyone knows how to harmonise the major scale, and that the chords you get in key of C are CΔ, D-7, E-7, FΔ, G7, A-7, Bø. If you harmonise melodic minor you will get some kinda weird chords, C-Δ, D-7, Eb+Δ, F-7, G7, Aø, Bø. If anyone doesn't know how to do that, let me know and I can explain.
So here's the thing, if you make the scale into an octatonic scale by adding in one more note, namely throwing in #5 between the 5 and 6 scale degrees, then some fun stuff happens! Melodic minor is just like the major scale with a flattened 3rd. So if we chuck in that additional note between 5 and 6, for the scale itself the notes are: C D Eb F G G# A B
Now the 1-chord is no longer the wacky and "spooky" C-Δ, instead it's a plain old C-6 which is a much more typical sound in gypsy jazz. But more interestingly, you see a nice symmetry when you re-harmonise the chords off this scale!
1, 3, 5, 7 chords are all just inversions of the I chord
2, 4, 6, 8 chords are all just inversions of the V chord (actually all the same dim7 chord)
You can make some nice sounds and find substitutions you might not have otherwise noticed this way. For example, try playing with these chord voicings in sequence:
[x x 10 11 10 11] C°
[x x 9 12 12 12] E-
We're really just alternating between I and V, that is between E- and B7 here, but when you play the chords in sequence you can clearly hear the melodic minor scale pop out because I've put the scale in the melody note of each chord [plus that "extra" C note in the Adim chord at 6th scale degree, due to using an octatonic version of E melodic minor].
Since nothing here was really specific to melodic minor, it actually works for the major scale too! You get I V I V I V I V alternating between the four inversions of the tonic (also a 6th chord) with the 4 "copies" of the dim7 chord inbetween. Here is an example in C major:
[8 x 10 9 10 x] C6
[x 11 12 10 12 x] G#°
[x 10 10 12 13 x] C
Of course you can throw in the usual colourations to any of the C chords (6th, M7th, nat 9th) without screwing up the sound.
It's cool in comping sometimes to walk up and down between I and V, you can hear Django do this a bit in "vendredi 13" for example, and in the B section of "clouds". It's also a neat effect in soloing to keep in mind alternating between I and V all the time when playing arpeggios. Question and answer, stable and unstable, tension and release and all that. Hope this helps someone!