4 part harmony, Drop 2 voicings, chords, theory and harmony in G major, fingerstyle, 190bpmby Pedja Simovic
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Hi GMC! This is the first lesson of a series of four that show how many different scales can we play over a dominant chord. I've chosen a kind of funky rhythm for the rhythmic guitar but the kind of approach to the different scales is very jazzy, in the sense that all the scales that I use are employed to make different moods in jazz tunes, or fusion.
The chords that plays the rhythm guitar are: A7-D7.
I've chosen the A7 to try different scales and over the D7 chord I'd play only one scale and the same scale all over.
In this lesson we will see who to play A mixolydian (D major) and A superlocrian (7th mode of Bb melodic minor). Each scale is played over the A7 chord taking turns, that means: two measures of A7, I play A mixolidyan, then two measures of D7 I play D mixolidyan, after that the A7 comes back and I play A superlocrian, and so on.
A mixolydian (D major) – A -B -C# -D -E -F# -G -A (this is the scale where the dominant (A7) come from).
A superlocrian (Bb melodic minor) - A -Bb -C -Db -Eb -F -G -A (this scale add the tensions: b9-#9-b5 or #4-b13).
The Db is enharmonic a C# so the difference with the D major scale (A mixolydian) is that augmented 9th (C=B#).