[Harp-L] RE: Harp-L Digest, Vol 47, Issue 73

["Rick Dempster" <rick.dempster@xxxxxxxxxxx>]

Harpman;
                Thanks for the suggestions.
                The main problem I see with these substitutions is the
lack of a 3rd, which, along with the 7th, seems to me to be the most
defining degree of any chord.
                 For example (& this applies in all the other cases
you've mentioned) using an A major 7th as a B7th, you have A=b7th;  C#=
9th;
 E= 11th; G#= 13th. That doesn't look good (in theory) to me.
                It might sound good against an accompaniment however,
and I'll certainly give it a try.
RD
 



>>> "straight to the harp" <harpman666@xxxxxxxxxxx> 28/07/2007 19:29:53
>>>
> > For me that arpeggio is a 'must have' as it means I can play an 'I
got
> > rhythm' style bridge in second position without swapping harps.
That
> > kind of bridge (ie B7, E7, A7, D7 or sometimes  with the E as a
minor)
> > is all over the sort of tunes I like playing.
> > Any advice gratefully received.
> > RD
>


You can play that kind of bridge by using the maj7 arpeggio one b7
above or 
one tone below.

B7 : Amaj7
E7 : Dmaj7
A7 : Gmaj7
D7 : Cmaj7

You can even use the major scale derived from those.

OF course it still very useful to know how to play your B7.

just a tip !

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