I used to sit in “open counseling ” with Scott Henderson in 1990 at MI, and he was a neurotic, moody, intense genius. Totally mind blowing once he settled down and found his way into that brilliant creative flow.
Not sure if you ended up saying so, but I think for newbies understanding that the diatonic arpeggio built on each of the note ps of the chord you’re playing over will give you chord tones plus extensions, while leaving out the root. So we get 3, 5, 7, 9 and then 5, 7, 9, 11 and then 7, 9, 11, 13. On G7 that would be using Bm7b5, Dm7, and Fmaj7 to get those increasingly hip, floaty combinations of chord tones and extensions without the root. Works on all chords in each scale.
Not sure if you ended up saying so, but I think for newbies understanding that the diatonic arpeggio built on each of the note of the chord you’re playing over will give you chord tones plus extensions, while leaving out the root. So we get 3, 5, 7, 9 and then 5, 7, 9, 11 and then 7, 9, 11, 13. On G7 that would be using Bm7b5, Dm7, and Fmaj7 to get those increasingly hip, floaty combinations of chord tones and extensions without the root. Works on all chords in each scale. Maybe your audience is way behind this, though!
I like the "diminished" sound of all the scales your talking about. Its too much to remember for me, but I like how you get a diminished sound without doing the generic "3 half notes up" into infinity thing, which is all I really know.
To your point about Bm7b5 being in for G7, I'm not sure if you mentioned that's also a rootless G9, another G Dominant voicing. So yea, that one is super in...but I'm in the camp where that sounds fresh though! 😂
At 13:36 you spell F-7b5 over G7 and you say it's b7 - b9 - #9 - b6 (#5), but isn't B a regular major 3rd instead of a #9? I was confused and I had to double check that :D Anyway, good stuff there sir, thank you.
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I used to sit in “open counseling ” with Scott Henderson in 1990 at MI, and he was a neurotic, moody, intense genius. Totally mind blowing once he settled down and found his way into that brilliant creative flow.
This information is invaluable to me, I am a self-taught guitar player, 56 years old, I finally have a reason to practice
I'm 55, and after watching this twice, I feel like I've just been on a heavy trip. This is some of the most mind expanding stuff ever.
Not sure if you ended up saying so, but I think for newbies understanding that the diatonic arpeggio built on each of the note ps of the chord you’re playing over will give you chord tones plus extensions, while leaving out the root. So we get 3, 5, 7, 9 and then 5, 7, 9, 11 and then 7, 9, 11, 13.
On G7 that would be using Bm7b5, Dm7, and Fmaj7 to get those increasingly hip, floaty combinations of chord tones and extensions without the root.
Works on all chords in each scale.
Thanks
Not sure if you ended up saying so, but I think for newbies understanding that the diatonic arpeggio built on each of the note of the chord you’re playing over will give you chord tones plus extensions, while leaving out the root. So we get 3, 5, 7, 9 and then 5, 7, 9, 11 and then 7, 9, 11, 13.
On G7 that would be using Bm7b5, Dm7, and Fmaj7 to get those increasingly hip, floaty combinations of chord tones and extensions without the root.
Works on all chords in each scale.
Maybe your audience is way behind this, though!
I like the "diminished" sound of all the scales your talking about. Its too much to remember for me, but I like how you get a diminished sound without doing the generic "3 half notes up" into infinity thing, which is all I really know.
To your point about Bm7b5 being in for G7, I'm not sure if you mentioned that's also a rootless G9, another G Dominant voicing. So yea, that one is super in...but I'm in the camp where that sounds fresh though! 😂
Wait, are we flirting with entering the Barry Harris universe?
Simple G7/9 = B-7b5/G.
that's plural but you can use it on the root, the third like you said and off the 5 and 6 too..
At 13:36 you spell F-7b5 over G7 and you say it's b7 - b9 - #9 - b6 (#5), but isn't B a regular major 3rd instead of a #9?
I was confused and I had to double check that :D
Anyway, good stuff there sir, thank you.
@@RisikoAO you’re right
@@marbinmusic I guess you're never safe on the internet.
Jokes aside, great teaching there.
Best to you.
@@RisikoAO thanks bro