Following up on the previous post, I spent a bit of time today with Harmonic Minor #4, aka Hungarian Minor, aka Simhendramadhyamam. Here's some stuff I found.

It's no secret that I like m7b5 arpeggios. The other day I was trying to figure out all the options I use on a m7 chord, and came across what's almost a pattern but isn't. Nothing life-changing but some directions for further investigation.

#11-transcriptions over on YouTube just dropped a lovely transcription of Wayne Krantz's solo on "Whippersnapper" from 2 Drink Minimum. It reminded me that Krantz is, for my money, one of the very few truly original voices on guitar to emerge since the '70s.

I stumbled across this while playing around with augmented triads on minor chords and thought it was at least a little bit interesting, if only because it led me to a scale I haven't come across in a musical context before.

I stumbled across this while playing around with augmented triads on minor chords and thought it was at least a little bit interesting, if only because it led me to a scale I haven't come across in a musical context before.

Yesterday I had a Cm7 vamp in my looper (I was practicing these) and happened to glance over at the music stand, where my repertoire book was open at "The Days of Wine and Roses" (I like opening the book at random and playing through something to get warmed up). As a consequence, this happened.

These are two chord/arpeggio structures that come up pretty often once you stray far from the major scale. They also sound great, so they're well worth committing to memory.

The Superaugmented Scale is a major scale with every note raised by a semitone except the 1 and 7: 1 #2 #3 #4 #5 #6 7. It came up a couple of times in the lines in my recent Scriabin-inspired post so I thought it might be worth digging deeper into.

I had more fun than anticipated with the results of raiding Scriabin for vocabulary, so I did it again with another piano piece I'm very fond of: Xenakis's "Mists".

Hit by a bout of insomnia last night I ended up listening to Scriabin's Piano Sonata No 7 and stealing bits from it to turn into jazz lines. Here are the slightly deranged results.