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WARNING: This segment gets a bit heady so get yourself another dose of Ginkoba and let’s come down
As discussed, the comping in Blues for Symmy makes usage of an idea called harmonized scales. Just put, harmonized scales are an order of elements (that’s a terrific way to describe what a scale in fact is– you heard it here initially!) where the components are comprised entirely of notes from a provided scale. As soon as total you might say the chords consisted of within the balanced scale are ‘diatonic’. For our purposes the D, G and A symmetrical decreased scales were utilized to construct harmonized scales that feature stacked 4ths. While this is not the very first instance of quartal harmony here in Juiced Blues, it is nevertheless going to be very various than what we’ve dealt with therefore far. Beginning in Super Dom Blues, instances of stacked P4ths have been dropped here and there and to fantastic impact. Here in Blues for Symmy, we’re going to juice that approach by making having fun with stacks that consist of transformed 4ths– tritones (remember, while a tritone is frequently described as a b5th, it is likewise enharmonically a # 4). Why? Because it’s jui-licious! Seriously, aside from sounding downright awesome, it’s what the balanced lessened procreates. See.
Presuming you’ve checked out the text consisted of with the Blues for Symmy Soloing sector you have a handle on the ins and outs of the balanced reduced scale itself. If not, no sweat, the video portion of the section breaks it down for you once again. On top of that, here’s a fast review:
The symmetrical reduced scale is an octatonic (8-note) scale whose formula develops a succession of consecutive half and entire steps, which is why the alternative name for the scale is the half-whole (H/W) scale. This succession is the reason the scale is balanced– it’s an unlimited cycle of successive half and whole actions. The degrees are as follows: 1 b2/b9 b3/ # 9 3 # 4/b5/ # 11 5 6 b7. In D that would be D Eb F F# G #/ Ab A B C D. Nested within this scale is a dom7 arpeggio beginning with the root along with a dim7 arpeggio both from the root and b2nd/b9th degree. Given that we now understand dim7 arpeggios are in proportion, thus making every note in the arp a root that makes 8 dim7 formulae! That’s every note! Now, let’s get stacking.