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Comments
Fastone Baz's is very brave and because I don't have a lot of imagination it didn't get any points although the playing definitely deserved some !
Flying Pie 5 - as above
Bellycaster 3 - Lovely legato parts and a touch of the Final Countdown in there too :-)
Stratman 1 - Great snappiness and musical ideas
Great backing track too - lots of space to widdle :-)
3 points : @flying_pie : A bit quiet and distant sounding, but nice melodies and ideas.
1 point : @Bellycaster : A warm tone. I think I heard a hint at Final Countdown
Anyone can vote, but here's a quick nudge for @fastonebaz @Bellycaster and @flying_pie
3 points @stratman3142 - cultured and skillful as in expect
1 point @DrCornelius - a good effort and I liked the direction
Sorry @fastonebaz but the tone you choose played havoc with my ears and brain despite the creative playing. Clearly that's an issue for me with a specific frequency and I'm glad @stratman3142 appreciated it differently
I'm now left wondering if you tweaked my file before uploading if it had a bit too much headroom. I just used the original project so that could be a factor
5 points @stratman3142 - Some wonderfully executed bends. The solo had a nice upbeat feeling and I love the approach at the end. Was that a kind of diminished flavour?
3 Points @flying_pie - I love a dramatic sounding solo. I mean that in a good way. It was placed nice in the mix to give it a different mood. My ears pricked up with this ending too, great lead into the final big vibrato bend.
1 Point @DrCornelius - Good mix of tempo delivery with the phrases, good use of space and I like the move around the 48 second mark very much.
3pts @Bellycaster
1pt @DrCornelius
If I hear a V7 chord played in a minor key, that's the clue to me that a harmonic minor scale might fit. So, for example, in the key of Am, an E7 chord contains a G# (the major 7th of A harmonic minor).
E7 contains the notes, E, G#, B and D. So, if you shift the root note up a semitone, you've got F, G#, B and D, a diminished scale as @digitalkettle said.
When it's applied to the V chord in A harmonic minor, you get most of the notes of the E 'phrygian dominant' mode (or 'spanish phrygian'): E F G# A B C D
I think the diminished 'scale' is usually regarded as an alternating whole step half step sequence. I sometimes use the Robben Ford trick with the half step whole step sequence.
Anyway, voting closed
I don't get many opportunities to use either but, of the two diminished scales, there's:
- whole-half: 1 2 b3 4 b5 #5 6 7
- half-whole: 1 b9 #9 3 b5 5 6 b7
Both scales are unusual in that they have eight notes...and both contain precisely two diminished arpeggios (1 b3 b5 bb7):- whole-half: one starting on the root and one starting a whole-step up
- half-whole: one starting on the root and one starting a half-step up
There's a lot of material there ^ but most of it sounds pretty ugly to me...the only thing I've absorbed is the 'Yngwie' thing described above...and that feels like a trick really...good enough for Robben though?I guess so. I just knicked the idea because I liked the sound. Ross Cambell has a more recent video on the same topic that goes into more detail.