Yep and another shape looks like major triad, or a m7 (think F/A and Dm7/A i.e. relative minor). And another looks like major 6 and is also a minor triad (think C6 and Am/C). Plus a basic minor triad with the root on the 5th string (or the 5th on the 6th string) and a shape for dominant with the root on the 6th string and that's pretty much all you need to basically negotiate any chart (of course there is a lot more to know but that will get anyone started). And those grips are about as easy as they get.
Oh, but I think the idea of one scale for a whole tune only seems simple on the surface, that's why I thought it was funny. It might not in reality be the easiest approach; you still need to know the chord tones of the tune to make it sound like you follow the progression. So you are probably better off attacking it from an arpeggio perspective. But I'll definitely try this scale on a Dm6 chord in an other context and see what happens. The whole point of theoretical ideas like this is to take them with you "into the lab" and see what new discoveries you might make, what new exciting sounds you may end up with and perhaps might want to incorporate into your playing.
Comments
5x45xx
Can be a shorthand for either
5x4555 (Am6)
554555 (D9)
5x454x (A°)
?
Over Dm6...hmmm...I never thought of that...interesting. Thanks for that Bones!
Exactly! When the brain doesn't work, just play the harmonic scale for a few bars.
Exactly Pompe. Sorry Lango-Django, that's what I meant!
The tricky bit is playing the notes you want to play in the tune.
And guys and gals, truly, while it may seem it, I am not being cute.
How did I never notice that?
From now on, I'll always think of that 5x45xx chord as the "AHA" chord.
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."