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II VI Major

In this case we will understand the sounds of the II VI major being (II Bm7) (V E7) and I (A7M Major).

The logic of this trick is to keep the 2 and the 1 in the same tonal center or whatever.

The same scale or Arpeggio sound, being that it sounds Dorical when it's on 2 and Ionian when it's on 1

The V, which is the tension function and the main link to resume the rest, or resolution of any song. We are going to use the altered scale of E that corresponds to the harmonic field of melodic Fm(7M) so it is good to assemble the Harmonic Fields of the sounds studied always!

Let's see how A major and E changed or melodic Fm looks like:

I (The biggest)

/ A7M / Bm7 / C#m7 / D7M / E7 / F#m7 / G#m7(b5) /

V7 (E Changed)

/ E7(#5) / Fm(7M) / Gm7 /Ab7M(#5) / Bb7 / C7 / Dm7(b5) /

Now let's see a little more about proximity diatonic Arpeggios. It's not the specific case I used in the sonorities but it's almost that because I want to show that knowing the chords of the harmonium field you can use any starting point, just avoiding THE RESOLUTION or fixed starting point.

In the first degree A major, the note D must be AVOID, as it clashes WITH THE TUESDAY OF THE CHORD.

It can be used only with passage, not as rest ok.

So the application suggestions in the major II VI look like this:

(IIm) Bm7 = D7M (arpeggio or scale)

(V7) E7 = Dm7(b5)

(I greater) A = C#m7


See how the (Arpeggios Scales) suggestions are close together. Basically in the same region, to facilitate the exchange of overlays of Scales and Arpeggios in improvisation.

Remembering that these approximations generate a fusion of intervals when we analyze their superimposed tetrads that always start as a reference point for the main chord plus the scale chord or arpeggio that is being superimposed.

Ex D7M on top of Bm7 generates a Bm7 (9)

D7M tetrads = T 3 5 7M

re there do#

Tetrads of Bm = T 3m 5 7

si re do there

So the C# or Seventh of the D7M chord generated a Ninth for Bm.

This analyzing the tetrads ie; the 4 notes that the chords are structured.

A suggestion for study is to analyze within the II VI Major and Minor the superpositions of the suggested scale arpeggios to know which intervals are generated on the main chords ok everybody.

So let's go to the sounds of the II VI major

with II and I supported in A major and V supported in E altered.

Bossa 251Maior - Hard Alexandre

Now let's move the I

It's the same concept as the previous II VI but let's change the I for the sound of the Lydian way.

There are people who say they mischaracterize the II VI but look at my worry lines (lol)

It's too cool folks and the only change is to put the E7M Scale Arpeggio on top of the (I of A Major).

(IIm) Bm7 = D7M (arpeggio or scale)

(V7) E7 = Dm7(b5)

(I greater) A = E7M

Let's listen.

Bossa 251+ lídio 1 - Hard Alexandre

II VI Minor

Continuing our study on II V I

Now let's explore the same idea in the smaller context.

The V degree in this concept is always a chord borrowed from the Melodic and Harmonic harmonic fields, and we will always use the V as the main point of the most sudden change in sound because it is in it that all tension resides.

We will now use another tone for a change.

I chose Fm for you. The logic is the same, let's use the natural sounding of the Harmonic field of (Im) Fm (Aeolian) which sounds a Locrius for Gm7(b5) and an Aeolian Fm on top of (Im) itself.

In V we will use the Harmonic field of the Dom Dim scale.

Let's go to harmonic fields

(Im) Fa Minor

/Fm7 / Gm7(b5) / Ab7M / Bbm7 / C7 / Db7M / Eb7 /


harmonic minor fm

CH of C Dom Dim

/ C7(#9) / Dbo7M / D#(#9) / Eo7M / F#7(#9) / Go7M / A7(#9) / Bbo7M /

- Now let's see the proximity options

(IIm) Gm7(b5) = Ab7M

(V7) C7 = A7(#9)

(Im) Fm7 = Bb sus (13)

And finally the sounds.


251 Menor V dom dim - Hard Alexandre
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