To know that the C#=Db enharmonically and when we play altered it is a Db so a b4 was for me revealing and enlightening I learned that actually from you I think...so great information...that has advantages for instance when I play 4ths in > altered scale, otherwise it becomes a mess but knowing what is the 4th is then of relative importance....
Excellent information. There's a lot of work there with these min7b5 arpeggios. One thing I get my students to do to get them under their fingers, is just play them over a 12 bar blues. So obviously in relation to G7 would be a Bm7b 5, So starting on the 3rd of each Dom 7th chord. And I tell them the bonus is.. No roots in these arpeggio's!
Regards Mikko thanks for your lessons I see that you know what are you talking about in coming lessons would you talk about outsides in melodic develop thanks again
Hi Mikko, each time you come up with a lesson yu make me glad, enthusiastic, curious for new things etc! I don't know if you're covering this but I like this arpeggio a lot: On Em7b5 D12+5 so BbA F# D BbA - F# D BbA F#D of course the VII th mode of ELocrian #2
when playing over G7alt on piano, as on guitar I like to play BbB EbF BbBBbFEb, to use the half note on the beginning and the ending to burn in the sound as much as possible in my system...
or GF# D A GF# > DA GF# AD still over Em7b5 over A7alt: Gmeldoic minor: BbA F# D Bb A and Bbmelo BbA F Db BbA to introduce the more melancholic sound of altered> Dm7b5 C12+5 G7 the same and over F7 diminished scale(although the melody gives a +5 or b13...
Maj7b5 is playing the Root over Em7b5 so on Emb5 I personally would play Gmaj7+5 to Play Rootless and over the dominant I would prefer the opposite so C# F G C so b5 or #11to be politically correct...
Thanks for these insights and ideas. Splendid
The GMC I & II arpeggio's (Generic Modality Compression are also nice) Em7b5: DGA>DAG &F#BbC>F#CBb On A7 : F BbEb>FEb Bb & CC#G>CGC#>C etc...
yes that's true. I didn't think of that. I will have to go back to the shed :D
@@Mikkokosmos Thank You Mikko, for your Dharma in lessons, You are True Friend!
The High and the Mighty by Dimitri Tiomkin contains this (EbM7 ,Gm7 Gm7b5/ C7b9, Fm7b5/ Bb7b9) progression.
Thank you
To know that the C#=Db enharmonically and when we play altered it is a Db so a b4 was for me revealing and enlightening I learned that actually from you I think...so great information...that has advantages for instance when I play 4ths in > altered scale, otherwise it becomes a mess but knowing what is the 4th is then of relative importance....
Excellent information. There's a lot of work there with these min7b5 arpeggios. One thing I get my students to do to get them under their fingers, is just play them over a 12 bar blues. So obviously in relation to G7 would be a Bm7b 5, So starting on the 3rd of each Dom 7th chord. And I tell them the bonus is.. No roots in these arpeggio's!
Regards Mikko thanks for your lessons I see that you know what are you talking about in coming lessons would you talk about outsides in melodic develop thanks again
Thank you 😀 hmm not sure what you mean 🤔 like outside playing? It's a difficult topic to talk about but I could try.
Hi Mikko, each time you come up with a lesson yu make me glad, enthusiastic, curious for new things etc! I don't know if you're covering this but I like this arpeggio a lot: On Em7b5 D12+5 so BbA F# D BbA - F# D BbA F#D of course the VII th mode of ELocrian #2
How about The Gentle Rain by Luiz Bonfa?
Yes!! Someone mentioned it. Good example.
Do you know the Luis Bonfa bossa "The Gentle Rain"......cycles down from F#-7b5 great G Benson version on "Blue Horizon".
Yes That's a good example
Great info here. Thanks!
when playing over G7alt on piano, as on guitar I like to play BbB EbF BbBBbFEb, to use the half note on the beginning and the ending to burn in the sound as much as possible in my system...
or GF# D A GF# > DA GF# AD still over Em7b5 over A7alt: Gmeldoic minor: BbA F# D Bb A and Bbmelo BbA F Db BbA to introduce the more melancholic sound of altered> Dm7b5 C12+5 G7 the same and over F7 diminished scale(although the melody gives a +5 or b13...
Maybe it depends on who are wedding?
:D :D
Hi Mikko
Maj7b5 is playing the Root over Em7b5 so on Emb5 I personally would play Gmaj7+5 to Play Rootless and over the dominant I would prefer the opposite so C# F G C so b5 or #11to be politically correct...
I think you should work on that thumbnail.....
awesome ! man I would love for you to check out my new nylon string song ! thanks buddy