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> Bb Maj To E Maj Progression
enlo22
post Jul 12 2015, 05:39 AM
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so I've been learning thigns from the lessons of Paul Wardingham and i'm super confused with a certain part.

the chord progression is

Bb maj to E Maj
he says that you can use the Bb half whole dimiisshed to tackle both chords.. that makes sense cause you can build those chords from that scale. What makes it confusing to me is that he says he uses Bb lydian(Bb C D E F G A) for the Bb maj chord which i get because it's a maj chord so lydian can work, but then says you can use E Aeloian Dominant(E F# G# A B C D) for the 2nd chord...
i'm guessing that's not being diatonic? and what key would that be in?! i've been trying to figure it out and i just can't seem to get it..


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Gabriel Leopardi
post Jul 13 2015, 02:18 PM
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Hi Enlo, do you have any link to this lesson?

I don't think that he is being diatonic with that suggestion because you'd be playing G note (the minor third of E) over Emaj chord. However, it can give a very slight blues sound generated by the interaction of both major and minor third. That's maybe why he also suggests the minor aeolian dominant scale. As usually, you'll have to focus mostly on chord tones and use the other notes from the scale to connect them so the weirder notes will add an extra color but they won't be really important while phrasing.

This suggestion can be or not your thing, so the best to know if you like this is to record the backing chords and play along with them. Let you ears decide the right notes for this progression and use his suggestion as a tip to find them.


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enlo22
post Jul 13 2015, 08:27 PM
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QUOTE (Gabriel Leopardi @ Jul 13 2015, 01:18 PM) *
Hi Enlo, do you have any link to this lesson?

I don't think that he is being diatonic with that suggestion because you'd be playing G note (the minor third of E) over Emaj chord. However, it can give a very slight blues sound generated by the interaction of both major and minor third. That's maybe why he also suggests the minor aeolian dominant scale. As usually, you'll have to focus mostly on chord tones and use the other notes from the scale to connect them so the weirder notes will add an extra color but they won't be really important while phrasing.

This suggestion can be or not your thing, so the best to know if you like this is to record the backing chords and play along with them. Let you ears decide the right notes for this progression and use his suggestion as a tip to find them.


https://www.youtube.com/watch?v=5pXFogAkOZE it starts at 2:39, i don't have the lesson link cause i had to buy it and download it it's not anywhere online..
I know he goes from Bb maj to Emaj, some other people online have been syaing that it's just using chord to scale theory.. in other words he picked those 2 chords which like you said aren't diatonic and played 2 different scales of his choice over them that matched the quality of the chords


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Gabriel Leopardi
post Jul 16 2015, 04:31 PM
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QUOTE (enlo22 @ Jul 13 2015, 04:27 PM) *
https://www.youtube.com/watch?v=5pXFogAkOZE it starts at 2:39, i don't have the lesson link cause i had to buy it and download it it's not anywhere online..
I know he goes from Bb maj to Emaj, some other people online have been syaing that it's just using chord to scale theory.. in other words he picked those 2 chords which like you said aren't diatonic and played 2 different scales of his choice over them that matched the quality of the chords



yeah, I think that's a good explanation for this. The phrasing there is very fast, so individual notes lose importance and what cares is the overall feel that you get by that fast lick. Honestly, at that speed you could play any note from the chromatic scale if you focus, start and end on notes from the chords.



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