rscout-@... wrote:
original article:
The harmonic minor scale is often cired as the scale of choice for
improvising over a ii-V-i progression. the reason for this that all
the
chords can be derived from the harmonic minor scale.
m7b5-V7alt-im7
e.g. C harmonic minor
Dm7b5 – G7alt – Cm6
C harmonic Minor Scale
1-2-b3-4-5-b6-7
C-D-Eb-F-G-Ab-B
However in realationship to each chord there are dissonances to watch
out for:
Dm7b5 – 1-b3-b5-b7-b9-11-13
Eb = b9 (dissonant)
B = 13 (possibly dissonant, dorian like)
G7 – 1-3-5-7-b9-11-b13
C= 11 (dissonant)
Eb= b13 (consonant on G7#5 or G7b13)
Cm6 – 1-b3-5-7-9-11-b13
Ab=b6 (dissonant)
An interesting thought is that the C harmonic Minor is the same as a D
Locrian with natural 6
Any more thoughts on this ?
Alisdair MacRae Birch
alisdair@...
Hi Alisdair,
I think that the Cm6 resolves well on the segested progression because
It has a tritone in it between the "A" and "Eb".
I rather go with the im7 insted.
regards
Rogerio Couto
