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· Premium Member
611 Posts
A lot of info in that.

The first 4 notes are outlining a AM7 (AC#EG#), the next 5 (BDF#AG#) are outlining a bm7 (?) or implying B Dorian (because the G# is a major 6 of B)? or maybe a DM11 (DF#AG#)?

For me this would be pretty cool to use over an A vamp, as its got a strong A at the beginning, but then the 2,4,6,8 scale degrees and ending on the 7 scale degree - i.e. all the tensors. I don't have a looper pedal infront of me to try it out but that must be pretty wild!

Cool run for sure.

· Registered
13 Posts
Discussion Starter · #5 ·
The pentatonic scale becomes all strings barred at one fret if you start on the root and skip every second note.
Yeah, the results aren't quite as magical when using the pentatonic; it mostly just sounds like fourths stacked on top of each other with the odd major third. But someone made a comment on the video suggesting using it with the harmonic minor scale, and it sounds pretty awesome. I've tried it with other jazz scales such as the altered scale (superlocrian) and the results sound absolutely bizarre in the best possible sense!

The big advantage to using these instead of just triad-based arpeggios is that it captures the flavour of an entire mode, since each note of the scale gets to be played at least once. Obviously playing an arpeggio with 7 notes is going to sound much more rich than just repeating 3 notes up the octaves.

Feel free to post any other scales that you guys think work well with this approach! I'm curious what ideas we can cook up.
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