It produces a very cool jazz sound by a quite unexpected means.The video is a bit piano-focussed so I thought it might help some guitar players to have a summary from our point of view of the main idea.You may think this is perverse, since the other way is clearly simpler, but in fact that b6 contributes a very strong Harmonic Major sound.
Barry Harris Jazz Workshop Files Full Guitar FingeringsYou can find full guitar fingerings for this scale on page 298 of the current version of Scale and Arpeggio Resources -- if its not there, search for the interval map t, t, s, t, s, s, t, s and youll find it. Adding a note to the major scale is quite easy, of course, but it will tend to lead you to play in a scalar, stepwise way; this way of thinking encourages you to see the underlying chord as the C6 arpeggio and the tension notes as the Bdim7, which is easy to find in relation to it. So one way to think of this is On a Maj7 type of chord, play the diminished arpeggio built on the 2, 4, 5 or 7. To start with, he points out that it contains the dominant 7 chord of the relative minor as well as the major keys, which makes for strong chord substitutions like E7-Am7 subbing for C6, and enables us to construct chord-scales like these (notice the different chord qualities that become available). Barry Harris Jazz Workshop Files Plus The SameAgain we have an alternative perspective provided by a disjoint cover: the m6 arpeggio plus the same dim7 we used before. You can find out about his other activities at richardcochrane.com.
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