SHORT CHORDVERSATIONS #6 (Intervallic Powers of the 7th Kind)
In this mini-lesson series my goal is to share with all of you some of the fun and interesting practicing concepts I enjoy working on when I study harmony on the guitar.
Part 6 presents an approach through which we can study the unique sound and character of a given interval and use it as a prism or sonic filter that would let us visualize and re-imagine any harmonic structure within that interval’s own sonic spectrum.
Here I will be concentrating in exploring these possibilities through the specific textural nuances of the “major 7” interval.
The study explores many different ways in which we can capture the sound of a dominant 7, major 7 and minor 7 chords by only using major 7 intervals as our building blocks. I will also illustrate how we can voice entire ii-V7-I progressions with the exclusive use of such interval.
As you will notice in the following pages there are a few chord alterations that I incorporate over some of the basic harmonies you are all familiar with that might be a bit unorthodox to many. However, I really like the uniqueness of their sound especially when used within the dissonance of the major 7 interval.
These are the regular 7th (in conjunction with the b7th) degree over the Dominant chord as well as the #9th degree over any Maj7 chord. I will be addressing more on that in the short tutorial video that comes with the study.
"Intervallic Powers of the 7th Kind" (PDF file - TAB and Standard Notation).
"HD Video" Lesson and Concept Explanation.
"HD Video" of all Harmonic Phrases at tempo.
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"Intervallic Powers of the 7th Kind" (PDF file - TAB and Standard Notation). "HD Video" Lesson and Concept Explanation. "HD Video" of all Harmonic Phrases at tempo.