So, I got a groovy, sexy, new exercise for you all. Take the fourth tone out of all your modes and shed that six note scale with all your standard standard scale/arpeggio practice patterns. Enter the "6/9 Sextatonic Scales"! (trademark pending)
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6/9 Sextatonic Scales - Quarantine Shedding
- Thread starter BarfanyShart
- Start date
What you are doing is a major triad on the root so in the Key of C you have 1, 3, 5 or C E G
The if you start on the 7 you have a B7 minus the 5
1, 3, 7 or B D A
Like triad pairs. In a way... I guess in this case you alternate between a C maj triad and B minor.
Yes because you are using the B(7), D(2) and A(6)
So the B is technically the 1 of the chord, the D is the b3 of the chord and the A is the b7 and voila... B-7. In this case the 5 becomes irrelevant because it does not define the chord at all.
So the B is technically the 1 of the chord, the D is the b3 of the chord and the A is the b7 and voila... B-7. In this case the 5 becomes irrelevant because it does not define the chord at all.
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Why the fourth tone? And what is the goal behind it? And why 6/9? Seems a bit random. Just curious.
The subdominant is a lame note for bass licks, I think. In the same way that you avoid the root of the next chord when walking in Jazz, in pop\rock music it seems that the hippest licks avoid the fourth degree of the chord unless and until the root changes to the tone. I was just watching YouTube videos of "best bass lines ever!" and such, and I noticed it was a common feature of a lot of these lines.
So, the point is to play with the intervals of the mode while avoiding the fourth degree, because that will get you closer to a cool line faster, theoretically.
The name is just silliness.
As mentioned, you typically want to avoid the 4th when playing over major chords. And actually, if you are playing a chord that resolved, like in a 2-5-1, the Tonic 6/9 chord provides the strongest resolution. So even though I haven't checked out this particular exercise, to me it has a lot of potential.