We begin Omega.
These session blocks in Omega are wrapping up two of our core systems [CAGED & 7 Majors].
We are getting all of our multiplier knowledge on the table and putting it to work.
Let’s get started with the D Major scale.
Once we know these addresses, we use formulas to modify components → build other types.These are the main mods which we can use to create other types of chords. We've included the '-1 fret', because once onto the board, and it helps us with the minor fingering for melodic arpeggios.
It's not infinite, the changes we can make, but what we can do with them, is.
Here is what is discovered (challenge from previous path plate).
Resources: Harmonic Palette • Flat Majors • CAGED Let's put our knowledge to work by playing a flat Major chord scale for C Major. Like secondary dominants, this produces some new (and commonly used) sounds which live outside the key center. Playing this chord scale obviously doesn't fully tonify C as home, as with diatonic chord scales (a great way to tune our ears to key centers), but C can sound homey. We are keeping everything triads, but try 7ths...even more interesting sounds. Flat Majors are typically used in rock [often power chord type applications]. Here we go...let's strum this chord scale... The mutes provide the space to get into the new shape. We are keeping the chord scale in 'P1'. The chords follow the fixed position CAGED cycle [ascending = C C D E E G A - these are beneath the tab]. Another good way to play this is to use only the A form, starting on C in P3 and moving up the board (all Majors!). We've included F Major to keep it alphabetical, even though it is a diatonic chord (and doesn't have a flat Major version - F♭ is E, which is the secondary dominant of Am - Am is the vi chord in C, so E would be the V/vi in C). These chords can create contrast within a key setting. They can often be good choices for going outside the key during the bridge of a song.