![]() ![]() ![]() But let's start simple - just three cars long: A, C, and E - the notes in an A minor chord. Now let's work for the railroad and modify the train so that it uses every-other-letter-name-alphabetic order - the system used with chords. I've added an extra A at the end so it sounds complete. Here's how our train scale looks in staff and tablature notation. Wouldn't it be cool if railroads actually sounded like scales when they crossed in front of us while we're waiting at an intersection?! By the way, this particular railroad company is the NMSR - the Natural Minor Scale Railroad. (That's the musical alphabet in case you didn't catch it!) Here's our musical train groovin' along the track in scale order. The engine is letter A, the second car is B, the third car is C, all the way back to the caboose which is labeled - you guessed it! - G. Imagine you are eight years old and you have a toy train whose cars are labeled alphabetically. One of the most helpful ways to look at scales and chords, especially in jazz improvisation, is to think of them as being essentially the same thing, with scales ordered alphabetically and chords ordered in every-other-letter-name-alphabetical order. In part two I'm going to first go through some music theory regarding scales and then highlight some of the specific scales we can use to improvise over minor seventh flat-five chords. If you need to brush up on any of this, click here. (click here for part one) In part one of this series on soloing over minor seventh flat-five chords I discussed the basic music theory involved and suggested ways to use arpeggios using the members of the chord. Part Two: Theory of Scales and Scales to Use ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |