Muris Varajic17th November 2008Interesting chops Ramiro,thanks!
Bogdan Radovic17th November 2008Great concepts Ramiro! Interesting backing too!
Nazgul17th November 2008Great one, Ramiro! This is really interesting stuff!
Emir Hot17th November 2008Nice one Ramiro
Kuba Szafran17th November 2008Really cool approach Ramiro
!
Ramiro Delforte17th November 2008Thank you guys! I hope you'll like the other lessons of the series.
kaznie_NL17th November 2008Thanks Ramiro!!
Ivan Milenkovic17th November 2008Very interesting lines Ramiro, good job mate.
Pedja Simovic17th November 2008Nice lines Ramiro !
Look forward to rest of the lessons
fatb0t17th November 2008interesting
Piotr Kaczor17th November 2008Nice licks Ramiro. Cool lesson!
Hisham Al-Sanea17th November 2008nice series Ramiro.great job
Dejan Farkas17th November 2008Very nice concept
Sergio Dorado17th November 2008Interesting concepts
Gerardo Siere17th November 2008Nice chops Ramiro.
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Triads in Major...
Triads, Harmony and Theory in C major, Root inversion, Fingerstyle, Chord voicings, C major, D minor, E minor, F major, G major, A minor, B diminished, C major scaleby Pedja Simovic - Difficulty3
Open Triads In G...
Open Triads, Harmony and Theory in G major, G major, A minor, B minor, C major, D major, E minor, F# diminished, by Pedja Simovic - Difficulty5
- Difficulty5
- Difficulty4
- Difficulty3
Triads in Major...
Triads, Harmony and Theory in C major, Root inversion, Fingerstyle, Chord voicings, C major, D minor, E minor, F major, G major, A minor, B diminished, C major scaleby Pedja Simovic - Difficulty3
Triads in Major...
Triads, Harmony and Theory in C major, Root inversion, Fingerstyle, Chord voicings, C major, D minor, E minor, F major, G major, A minor, B diminished, C major scaleby Pedja Simovic - Difficulty3
4 Part Harmony Drop...
4 part harmony, Drop 2 voicings, chords, theory and harmony in G major, fingerstyle, 190bpmby Pedja Simovic
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Jump to start: Home or `s` , you can also click/tap the lesson part again (the numbers above player)
Go to next part: PageUP or End. ( iOS: swipe right or left over video )
Volume: ArrowUp / ArrowDown keys
Go to any part: Number keys (combinations also possible)
Pause or play: `k` or space key
Fullscreen: `f`, esc to close
- Lesson
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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#).
Related lessons:
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- 2Difficulty5
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- 3Difficulty5
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- 4Difficulty6
