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| Title: | GUITARnotes - Where Every Note has Emotion |
| Notice: | Discussion of the finer stringed instruments |
| Moderator: | KDX200::COOPER |
|
| Created: | Thu Aug 14 1986 |
| Last Modified: | Fri Jun 06 1997 |
| Last Successful Update: | Fri Jun 06 1997 |
| Number of topics: | 3280 |
| Total number of notes: | 61432 |
2630.0. "The Jazz Minor Scale" by JURAN::CLARK (tune up, turn on, rock out) Wed Nov 25 1992 11:16
I'm interested in what some of the more learned members of this
conference have to say about the jazz minor scale. This scale
is spelled
R 2 -3 4 5 6 7; in the key of C it would be
C D Eb F G A B.
Building a scale starting on the fourth note of this scale
gets you
R 2 3 #4 5 6 -7
a dominant scale with a sharp fourth
Building a scale starting on the seventh note of this scale
gets you
R -9 +9 3 -5 +5 -7
which would be all the 'altered' tones you see in jazz chords.
All that said, I've been playing with this scale for a while,
trying to integrate it into my vocabulary, and it just sounds
ugly to me, very artificial and awkward. Is this something I
have to get used to or are there particular applications where
this scale fits in well?
have at it - Dave
| T.R | Title | User | Personal
Name | Date | Lines |
|---|
| 2630.1 | | CAVLRY::BUCK | I once was blind but now I see the light | Wed Nov 25 1992 11:30 | 10 |
| >Building a scale starting on the fourth note of this scale
>gets you
>
>R 2 3 #4 5 6 -7
>
>a dominant scale with a sharp fourth
Otherwise known as Lydian Flat 7 -- works fabu over secondary dominants.
|
| 2630.2 | An (un) Educated guess! | CMOTEC::EVANS | Fly By Night | Wed Dec 16 1992 08:03 | 7 |
|
Building off the seventh looks like it could be a Super Locrian
or similar, should sort of move in & out over any altered dominant.
I'm still trying to get my head around these hyper/minor modes.
Cheers
Pete.
|