Here is the corresponding snappet with just the chords ( this only works when reading this blog inside emuso/Studio). Here is a video of a short example of minimal voicing chords, based on the above Try playing the highlighted 3 and b7 over an open A string, and let in ring for a bit, and then resolve it to the b7 and b3, respectively, of the dimmed A-7 chord, with the open A still ringing.

But it’s also a semitone above the b7 of the A-7 chord, so you could resolve this in either direction, when the A-7 comes round, or even slightly early, or even slightly late, dependng what effect you want. You can see that the 3 on the 4th string, at fret 6, is one semitone behind the root of A (which is located at fret 7 on that same string). Showing brightly, the white circle is where the root, E, of the dominant chord would be (a 5th above the A), and where its 3 and b7 are located. It is labelled with intervals relative to its root (A).

Its chord tones are dimmed down, visually. In the next image, we see an A-7 chord, rooted on the 6th string. Just these two pitches alone can do this. For example, lets say we want to set up A-7. We call this some kind of “dominant 7” chord. If you want to create more expectations of an upcoming chord, then one way to do this is precede it by a chord rooted a 4th below or a 5th above, that contains a 3 and a b7. Press “Start” to hear it and see the chords on”guitar”. Click on the eye-ear icon, and Rhythm-X will be loaded with the snappet. This only works when reading this blog in emuso/Studio. This is a great way of adding some ear-candy to your tune.Īnd here is the snappet for the above. This gives a subtle edginess to the groove. In this video using G mixolydian, the b2 and the 7, which are one semitone either side of the tonic (G), are wrapped around it. The name of the game is then to play such a note in a way that draws not quite as much attention to itself, yet is picked up enough by the listener, but only briefly before its gone. However, you can use this b2, just not as blatantly. Want you audience to plug their ears (which obviously you don’t)? This will do it. This is one semitone above the chord root, so it will clash like crazy. As a very obvious example, play this chord (G, but with just one note altered, at the 4th fret on the treble E string (labelled “b2”). The semitone above always seems to create more edge than the semitone below. If you want to catch the attention of your listeners, and make them think a change is coming (even if it doesn’t!) then basically you need to play notes located a semitone above or below the chord tones, of the moment. Then we’ll take a look at using the altered scale, in the context of a minor groove using A-7, to add more chromaticism. So, we’ll kick off with a simple G mixloydian groove, but adding a touch of chromaticism to that, before getting into the altered scale. First we’ll start with the general concept of adding in chromatic notes, which is what you will be doing with the altered scale. I think we know how we're going to practice this, we've put out the track and do it.The altered scale is an amazing sounding scale,that can be used in rock, blues, metal, as well as jazz.

Let's go to our F seven altered scale now. One three, one three two, one three two, one three, one three two, one three two, one. One two three, one two three, one three, one two three, one two three, one three one. But we've taken these two notes and made them flat so that they work on an altered chord. That little thing being our extra passing tone that turns our seven note scale into an eight note scale. Very familiar grouping again, one two three, one two three, one two one, or one three one I'm using. Then we're going to continue to work these into our vocabulary a little bit. Let's get some fingering going on our G seven altered scale and our F seven altered scale.

Altered scale