![]() You can, of course, use this on any Maj7 type of harmony as well as on chords explicitly written with a 6. Adding a note to the major scale is quite easy, of course, but it will tend to lead you to play in a scalar, stepwise way this way of thinking encourages you to see the underlying chord as the C6 arpeggio and the tension notes as the Bdim7, which is easy to find in relation to it. This is what I call a "disjoint cover" because the two parts share no common notes. However, he explains it in a quite different way, noticing that a cover of the scale is given by the C6 and Bdim7 arpeggios ![]() You can find full guitar fingerings for this scale on page 298 of the current version of Scale and Arpeggio Resources - if it's not there, search for the interval map "t, t, s, t, s, s, t, s" and you'll find it. You may think this is perverse, since the other way is clearly simpler, but in fact that b6 contributes a very strong Harmonic Major sound. More exotically, you could think of this as Harmonic Major with an added natural 6. ![]() The scale is in fact just a major scale with an added b6 or #5, so it's spelled like this: The video is a bit piano-focussed so I thought it might help some guitar players to have a summary from our point of view of the main idea. It produces a very cool jazz sound by a quite unexpected means. Here's a great excerpt from a Barry Harris workshop where he introduces an interesting diminished concept, which he (jokingly) calls his "personal scale".
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