Nailed the 4mn, good job :) Not with my bass right now but I don't hear you going from DMaj7 to BbMaj7 around 3:30, it sounds like a semi-tone higher... or are you going to Eb7 and considering it's the relative myxolydian of Bb ? I discovered your channel a few days ago, really nice stuff, and master player !
Hey man I just went through and checked it out a bit more closely. I actually play a Bb∆7 arpeggio so maybe you're hearing the movement from the A (5th of D∆)? But you have actually touched on part of the trick.... major third key centre movements share similar chromatic tensions to sidestepping up a semitone. In a way....
@@PWFarrell I was hearing two arppegios a semi-tone apart, but yes, the first one was maybe from A, will investigate this later ;) In a modal context, let's say D phrygian, would you also explore Bb phrygian and F# phrygian ? Thanks for your answers.
Hey Euklair. I am going to try and address this in a video but the main thing is to use your ears. I personally would suggest that what ever harmony you superimpose should have a strong tonal centre. Otherwise you kind of lose the effect. You don't need to think/match phrygian just because your superimposing over that. I personally would think of things like chords (in the context of phrygian I'd probably be thinking minor 7th chords) or pentatonic scales. These will quickly draw the listener's ear to the polytonal tension you're introducing. The thing with phrygian is it's really more at home in a suspended 4th kind of setting. It kind of has ambiguity built into it. It's funny because the 3rd diatonic chord is usually called a minor 7th chord and phrygian is the 3rd mode but in reality it is usually harmonized as susb9 or in a quartal setting. That said there's nothing wrong with transposing phrygians all over the place, but you might find that it sounds more 'proggy' or 'shreddy' and less like the tensions I'm talking about in the above lesson. PWF
So good bro. Bite-sized and clear, but lots to chew on.
Best compliment I could get. Thanks Jon. My goal with these vids is to get to the point.
You’re doing it bro. Keep ‘em coming.
Nailed the 4mn, good job :)
Not with my bass right now but I don't hear you going from DMaj7 to BbMaj7 around 3:30, it sounds like a semi-tone higher... or are you going to Eb7 and considering it's the relative myxolydian of Bb ?
I discovered your channel a few days ago, really nice stuff, and master player !
Hey man I just went through and checked it out a bit more closely. I actually play a Bb∆7 arpeggio so maybe you're hearing the movement from the A (5th of D∆)? But you have actually touched on part of the trick.... major third key centre movements share similar chromatic tensions to sidestepping up a semitone. In a way....
In saying that it's really more about the chord-scale than specifically arpeggiating the 1-3-5.
@@PWFarrell I was hearing two arppegios a semi-tone apart, but yes, the first one was maybe from A, will investigate this later ;)
In a modal context, let's say D phrygian, would you also explore Bb phrygian and F# phrygian ?
Thanks for your answers.
Hey Euklair. I am going to try and address this in a video but the main thing is to use your ears. I personally would suggest that what ever harmony you superimpose should have a strong tonal centre. Otherwise you kind of lose the effect. You don't need to think/match phrygian just because your superimposing over that. I personally would think of things like chords (in the context of phrygian I'd probably be thinking minor 7th chords) or pentatonic scales. These will quickly draw the listener's ear to the polytonal tension you're introducing. The thing with phrygian is it's really more at home in a suspended 4th kind of setting. It kind of has ambiguity built into it. It's funny because the 3rd diatonic chord is usually called a minor 7th chord and phrygian is the 3rd mode but in reality it is usually harmonized as susb9 or in a quartal setting. That said there's nothing wrong with transposing phrygians all over the place, but you might find that it sounds more 'proggy' or 'shreddy' and less like the tensions I'm talking about in the above lesson. PWF
Great stuff man, are you still using the La Bella tapes?
No man I actually got hooked up with an Elixir deal and the good news is they are awesome strings....
Can you speak with a Frrrench accent ?
Lionel Gouteux lol. What?