Lee Vatip wrote:
Indeed throw in that F#!
Gmi scale is GABbCDEbF
D7 is DF#AC
The F# in the D7 is the raised 7th of the Gmi scale
The D7 with the F# resolves "harmonically" better to the tonic Gminor as a leading tone.
For that reason this is known as the "Harmonic minor scale"
Steve A
BTW... if you kept the F natural against the D7, it would function as a #9 (E#) producing a D7#9 otherwise known as "the Jimi chord"
I know all of this Steve. This F# note is so important for the "latin sound" though. They use it a lot. But I almost forget it when it's time to improvise. The scale you wrote (GABbCDEbF) works perfectly all along. This harmonic minor scale goes perfectly when I'm on D7 but we have to forget it when we resolve in Gm (relative minor of Bb).
What's so nice on this pattern is even though the first chord is D I start to play the bass line with the A note...going to D and then playing a chromatic approach to resolve on G...
In the RH there is another aspect to consider as a latin sound...I play (always on D7) the major 3rd and dominant 7th and the tonic to complete this riff. So used in latin music too.
Maybe the 10 years I lived in Dominican Republic helped me a bit to understand these patterns. And I continue to be there 5 months per year...well 20 years going there and playing with Dominican musical friends.
By the way, you're a better player than me...that would be interesting to hear you playing this riff...lol. No mistakes like I do...a better improv...etc..Thanks for your comment.