Nice job putting all that into one concise package. I love all the tones and scales. My desire is to put them in more of a rock or progressive sound. They tend to harken back to jazz standard tunes. Which are nice but also good to find futuristic ways to apply them. Any thoughts? Thanks again! There are also scales that have two semitones in a row in one or more places on the scale. These are interesting too.
Thanks! Well, "futuristic" is broad, and a matter of taste. You can find some harmonic freedom in playing any of these scales you want over any secondary dominant, espectially seeking out scales that contain many notes that don't fit the original key you're in. Say you're playing in C major, and you have an A7 chord (leading to Dm). Octatonic would contain Bb, D# and F#, all creating a weird "alien" sound, since none of it fits into C major. The opposite approach would be to to for A melodic major, containing the entire C major scale, except for C#, creating a sound that's a lot more smooth, which would be less weird, but still a way to get chords with altered notes (like b13, in this case) into your composition without sounding incoherent. But in the end, it's a process of experimentation and exploration, which is where all the fun is! And yeah, there are many more scales. I forgot which website this was, but there's a website collecting all possible scales, and they're running into the thousands so far 😂 it also contains a bunch of Japanse pentatonic scales which weird combinations like 1 b2 4 5 b6 1 for example. So play around and see what you like
Cool video! With regards to Lydian Dominant use on secondary dominants, would you only use it on a V/V chord and non-resolving dominant chords or do you think it still works well on a resolving dominant chord (V to i)?
Depends on how "free" you want to interpret these things. You could apply it on any dominant chord you want. It would work most naturally on bVII7, but you could play any scale you want on the good 'ol V chord. How far you deviate from the original key only determines how much tension is created, but there's no amount of tension that is "wrong"
How interesting
Nice job putting all that into one concise package. I love all the tones and scales. My desire is to put them in more of a rock or progressive sound. They tend to harken back to jazz standard tunes. Which are nice but also good to find futuristic ways to apply them. Any thoughts? Thanks again! There are also scales that have two semitones in a row in one or more places on the scale. These are interesting too.
Thanks! Well, "futuristic" is broad, and a matter of taste. You can find some harmonic freedom in playing any of these scales you want over any secondary dominant, espectially seeking out scales that contain many notes that don't fit the original key you're in. Say you're playing in C major, and you have an A7 chord (leading to Dm). Octatonic would contain Bb, D# and F#, all creating a weird "alien" sound, since none of it fits into C major. The opposite approach would be to to for A melodic major, containing the entire C major scale, except for C#, creating a sound that's a lot more smooth, which would be less weird, but still a way to get chords with altered notes (like b13, in this case) into your composition without sounding incoherent. But in the end, it's a process of experimentation and exploration, which is where all the fun is!
And yeah, there are many more scales. I forgot which website this was, but there's a website collecting all possible scales, and they're running into the thousands so far 😂 it also contains a bunch of Japanse pentatonic scales which weird combinations like 1 b2 4 5 b6 1 for example. So play around and see what you like
Cool video! With regards to Lydian Dominant use on secondary dominants, would you only use it on a V/V chord and non-resolving dominant chords or do you think it still works well on a resolving dominant chord (V to i)?
Depends on how "free" you want to interpret these things. You could apply it on any dominant chord you want. It would work most naturally on bVII7, but you could play any scale you want on the good 'ol V chord. How far you deviate from the original key only determines how much tension is created, but there's no amount of tension that is "wrong"
@@DidierLec Noted. Thanks for the response and info!