In the first example, each chord is either the 6 chord (eg F6 represents D-7) or the dim7 chord. But we introduce the concept of ‘borrowing’. This example takes the same bass and melody, the same chord analysis and the same resulting 6/dim scales. How can we spice the voicings up a bit? The remainder of this article shows how. Doesn’t it sound a bit … old fashioned? Like Glenn Miller, but without the big band. In the arrangement so far, all the parts are moving in parallel. It is most often applied to melodies with a lot of diatonic scalar movement.īut wait a minute. ![]() That’s how to apply 6/dim scales in the simplest way. But the point is, any chord can be represented by a 6/dim scale, so we start our explanation with a 6 chord.īars 3 and 4 are the same but up a tone. You don’t need to first think of the F6/dim scale and convert it to D-7/dim scale after a while you can go straight there. You can think of there being a resolved side of the scale, the 6 chord (D F A C) and an unresolved side, the diminished 7 chord (C# E G Bb). So we can harmonise the melody using only this scale and alternate the block chords D-7 and C#o7. The Eo7 is the same as C#o7 which sound like a rootless A7b9 which is V of D-7.
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