Intervals, Octave, Wes Montgomery, George Benson, Interval Series, E natural minor, E harmonic minor, Arpeggios, Chord tones, Tensions, Question answer phrasing, Straigh vs syncopated, by Pedja Simovic
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Hi GMC! This is the third lesson of the Dominant Series. Here we are going to explore the sound of the different phrygian modes. I've made phrases in A phrygian major, A phrygian and A phrygian natural 6 to play over the A7. Like in the previous lessons I play one scale over the A7 then comes the D7 chord (where I play D mixolydian) and when the A7 comes again I play the other scale that we are learning here and so on.
The progression is: A7-D7
A phrygian major (D harmonic minor) - A -Bb -C# -D -E -F -G -A (this scale add the tensions: b9-b13)*
A phrygian (F major) – A -Bb -C -D -E -F -G -A (this scale add the tensions: b9-#9-b13)*
A phrygian natural 6 (G melodic minor) – A -Bb -C -D -E -F# -G -A (this scale add the tensions: b9-#9)*
*I explain the tensions comparing to the A mixolydian (the scale where the A7 comes from).