I would choose major and ascending melodic minor, and approach both from the a modal standpoint to "maximize" the use of two simple scales. Also, I like starting with ascending melodic Minor because it is only one note different from major.
hearing you soloing using the major scale really made me realize its very much a matter of how you play the scale reguardless of how simple the scale is
Hey Brent.. Since I found your channel, I know how to improvise properly. I just want to say thank you! It is not self-evident that there is someone as great as you who shows us the right direction of improvisation. Thanks for your great, interesting worth knowing videos! I did your three-day mini-course and I found it very helpful. I'm also doing 30 steps to better jazz plaing. Through your videos, content, content and good stuff you've changed my way of improvising! Thank you for everything! I'am so happy now! Greetings, Rafa😊
This is such a great video (partly because it validates what I already do), but also because it demonstrates enough simplicity to free one's mind (and fingers, I might add) to create real musical ideas. Joes Pass said something similar in one of his instructional videos that he only thinks of three chords - major minor and dominant. This is a very refreshing change to the overwhelmingly scalar playing you hear most of the time, and which, to my ears, does not sound musical at all. I suspect, though, that a heightened focus on learning standards (like your other excellent video) can do more for really good phrasing than scale knowledge. Thanks very much!
I think the two most important scales for jazz in mind mind are major, and melodic minor. between those two, you can really play almost anything between major and minor keys, different "flavors" of half diminished chords (depending on if you are in the major, or minor key) and of course altering the dominant chords with the flat 9 and flat 13. It's true that you don't get a scale that really fits a fully diminished chord, but that can just be covered by arpeggios . I think more important than the diminished scale is the classic jazz vocab that you get from melodic minor. That cool minor be-bop sound that you hear so often from players like Dexter Gordon, and Lee Morgan.
Good video. Just watched it after becoming bamboozled with too many options elsewhere. This explains the relationship to chords so well and will help in my own teaching. I would add the major and minor pentatonics though, as well as the blues scale. Good to think about the blues scale as an enhanced minor pentatonic - this keeps it all simple and related.
Learning half whole diminished changed my piano playing forever. Three patterns, 24 scales! On guitar, just one moveable pattern that anyone can learn in an afternoon, that will change your guitar playing forever. Because it is symmetrical, it can go half whole half whole...over a dominant chord or whole half whole half...over a diminished chord. Slight variation yields Locrian and super Locrian, a really delicious altered scale. Thanks for the way you teach, that is, understanding the complexity, but teaching the simplicity. The curse.of most experts is that they come to understand the simplicity (how else to explain the piano playing of Oscar Peterson), but teach the complexity. I highly recommend your book on learning jazz standards,. A negligible cost, less than lunch for two, but in the couple months since I bought it, hundreds of hours of fruitful practice. So a couple of pennies per hour, and I am only 1/5 of the way through. Best investment I ever made in my music hobby. Your videos are a critical supplement.
I like your concept of pitch collections. It seems to enable the player to arrange pitches into the construction of whole that is satisfying to the ear.
I LOVE to alternate between "blues boxes" over dominant 7ths (with the b3) and warm and lovely Maj pents. It's a nice little Blues-Country kind of a thing, very Skinnard, or it can go more down home Alabama if you want.
I think of the whole half diminished pattern as going up from the root like a minor scale and down from a root like the major scale and using the notes either side of the fifth! I like your comment about focusing on the diminished chord tones because, as you say, you are so rarely on a diminished chord for long.
Melodic minor would probably be the third. Gives you that second choice for altered dominants and half diminished. (as you mentioned). But yes I totally agree - the major scale and it's uses are often underestimated. I was happy to see this video.
Brent ___ I started my, 'Musical Journey 70 years 'late' . Being 77, I missed acquiring the skills needed to play Music...I play Modes. Whatever Key' I hear, is either ,#1 Major or, minor #6. Once I determine which one I'm 'In, I am able, to find the other Modes by Degree... however: I feel as if I'm not playing Music, I am only playing the compatible Chord Tones as supplemental to others. Any Suggestions?
I agree totally...selecting the appropriate major scale is how I understand most of my own attempts at improvisation...pentatonics are great too to limit a beginning player to fewer notes and then you can do a lot by working on rhythm and phrasing to create something surprisingly cool. Many beginners will be frustrated listening to your examples...although you mention using chromaticism around the major scale tones you fall easily into using some extra notes to the major scale. Any tips for beginners on which chromatic note selections you use most often?
Ur right major and the melodic on minor 251 but rthymn is fundemental in making it hang together no matter what time is played , weak beats versus strong beats, and that takes time injest in order to have the space
The ones that sound good. :) Try them all and remember that if you think a note is bad you are only a half step up or down (or both) away from a "good" note
Hey Colin, I can understand that. There's a lot to be said on this subject. But first, you can simply play the chromatic notes in between the scale tones. But then you can start getting more intentional about it. Enclosures is a good way to conceptualize this. Here's a video on that: th-cam.com/video/DwESkieP8OA/w-d-xo.html
@@Learnjazzstandards Thanks Brent, really respect and appreciate what you're doing on your channel. Will keep listening and trying out stuff and hopefully keep improving gradually. My philosophy is to remember that music is an artform and we can start out "painting by numbers". It's ok that we may never absolutely emulate our idols but will develop our own unique sound that we can enjoy and hopefully is appreciated by some :-)
Yes, I guess 2 scales works. I rarely think about scales. The exception:. I really like McCoy Tyner type pentatonic scales to play outside, and straight chromatic ideas that I hear George Benson play. The rest is thinking about chord tones and some of my stolen Bebop type phrases which have become part of my vocabulary.
Brent. Technically you are correct. You used one major scale, and 3 different modes. But from a student's perspective, I would argue that the statement is misleading, because every mode is a different fingering to remember. So while each of the mode only uses the notes from a parent major scale, they are each a different pattern to memorize and practice. You did mention in your show that some people make the "different scales" argument, which I just did. But by downplaying the argument, I think one is oblivious to the challenges of learning those modes. As to what I think are important scales.... Well, I would say pentatonic or blues. Because the either "skip" some tones, or add chromatic notes, they sound "jazzy" with few notes. With my limited abilities, the fewer notes the better.
Hey Rene, I hear you! You are coming from a guitar players perspective. But the problem with the way you are thinking about scales, is you are thinking of them as linear patterns, not "pitch collections." The ideal place to get with scales, in my humble opinion, is to not see definitions of this scale or that scale, but rather a map of note choices you can choose from. Yes, you should be able to play all the different scales linearly, but the only use of this, in my opinion, is to learn how to navigate your instrument, which is not improvisation, its just proficiency on your instrument. All that being said, when it comes to improv the benefit of seeing things simply like this, is to help you think more pitch collections and less scales.
The two most important scales for jazz blues are the Major and Minor pentatonic/blues scale. Everything else can be easily formed from these two - Arpeggios, Diatonics, 4 note digital cells - everything...
Major scale makes perfect sense to me. I'd call it a diatonic scale because, no matter which note it's played from, it will always have two diatonic semitones. It perhaps can be construed as a mode. So, here's what I found. We only need three modes: pentatonic , diatonic and chromatic . In this case, diminished scale can, probably, be construed as a link of a sort between pentatonic and diatonic 😜
From the pages i have i see major scale touched with dim. Scale over Dom. Chords (1 b2 b3 3 #4 5 6 b7) where mixo-lydian would have been) and a bit of melodic m. I think especially for secondary dominants. *gasp*
The minor 7th arpeggios and how to substitute one for almost any chord plus the major/minor blues scales, which are just a minor 7th arpeggio and 2 more notes.
im a singer just a few months into learning improv. does this stuff apply? when im improvising i really don't have headspace to keep scales in mind. i can see how scales create a really helpful and visible framework for an instrumentalist, but are they relevant to training as a singer? im doing a weekly band practice with instrumentalists, there's not much input from the teacher on how to practice and he doesn't know much about the voice. any tips? i am loving your videos and finding them really helpful, thank you so much
In the context of education for a musician just starting out in learning to play jazz music I feel that utilizing Major and Melodic minor scales are more analogous to Major / Minor pentatonic scales for learning jazz improvisation. From the aforementioned scales the key element of differentiating major /minor tonality (3rd degree) is being reinforced and learning to improvise with 2 scales that have closely sounding interval patterns but provide a different tonality by only one note change is a tremendous help for the novice jazz improvisor. So those are my 2 suggested tools for the novice jazz improvisor.
Do any jazz standards employ whole tone scale. I think your whole half scale is what classical players call octatonic. Any standards use the whole half?
Im always searching for how to make beginner jazz scales... The videos that only come out are Major scales for jazz, Melodic Minor, How to use Chord tones and add a whole note to make different scales, modesbleeeeeh, whiiiiich oooooone
First of all, I also don't want to talk much about modes, because on ii we can name what we play not Dorian, but Major with focus on supertonic. This way the only extra scale we need is when we see something with flat five or Aug or 11+, so we need something like whole tone or half whole or harmonic minor. It is a matter of taste. If we don't want to add extra we can pass through strange cord or use arpeggio or chromatism in major focusing on alterations. If we do have experience with alterations and extensions of unusual chords(and we seriously should) we can use only major+modes+alterations.
Hi Yelk, agreed! But all the chromatic scale is is simply all of the 12 notes we use in Western harmony. I suppose I could have made a video- Only 1 Scale You Need to Know for Jazz Improv! Hmmm, now you've got me thinking!
How about no scale at all, and no arpeggio? Name one great jazz musician who plays lines as scales and I'll still prove you else wise. Unfortunately, even our alma mater fell victim to that age old vice: Chord Scale Theory obsession. Narrowing it down to the major and minor scale weeds out all the bs, but we need an overhaul in jazz ed. Down with CST and up with a deep understanding of melodic construction. Not licks, melodic construction. Parker had a keen ear for melody, and so did Coltrane. Running scales ain't gonna get you to sound like jazz, even from the onset. Instead, we should be teaching small melodic cells or fragments. Scales from root to root are very rare in jazz improvisation, and even arpeggios are used in very specific ways--it's not just R 3 5 7 to no end. Mark Turner uses arpeggios, but he uses them in a very specific way (we'd need to transcribe him for ourselves to ingrain that type of playing). Even enclosures are used strategically. I think we're all looking for a magical formula to create jazz. It's right under our ears, it's in the jazz records themselves.
I'm too much of a Noobie to comment, but I think the Pentatonic and Blues scales would be important. I'm trying to wrap my head around modes now, but they are just built off of the scales.
You are basically talking about Modal music that goes back several hundred years, and by the way, in early classical music, the "Locrian" mode was not allowed by certain authorities such as the Catholic Church. It was considered to (dark), Ha! Modal music was VERY popular in Jazz, in the 60's...(Coltrane). Here is a thought... No scales at all, just half and whole steps, as the late great "Eric Dolphy" practiced, or, even no scales at all that express any chord at all, as in "Serial" or "Tone Row" compositions, example: (Reginald Smith). Thanks, .
What do you think are the most basic scales for jazz improv?
Beside basic scales,
blues, lydian, Dorian, locrian and pentatonic
@@עומרילוי-ד2ט Thanks for sharing
the superlocrian over a 9#/5# ! not basic one but it's sound great !
@@Omnis.w Yes!
I would choose major and ascending melodic minor, and approach both from the a modal standpoint to "maximize" the use of two simple scales. Also, I like starting with ascending melodic Minor because it is only one note different from major.
I'd think the Blues scale would rank higher than W-H Diminished... Loved the way you described the modes. Thank you.
Buddhadev Mukherjee my pleasure!
If you take the Major Scale and Melodic Minor Scale and all of their diatonic modes you have most of all the important ones including altered etc..
Agreed!
Pretty clear. Thanks for unlocking something.
Glad to help
1:27 what was that sound
and the guitar/bass sounds so good what type of guitar/bass is that?
hearing you soloing using the major scale really made me realize its very much a matter of how you play the scale reguardless of how simple the scale is
MEGA. Big thank you, especially the last tip with the halftones surrounding the half-diminished chord-tones
I found this guy today on Google. I love his style. He knows what he's doing and saying.
Hey Brent..
Since I found your channel, I know how to improvise properly. I just want to say thank you! It is not self-evident that there is someone as great as you who shows us the right direction of improvisation. Thanks for your great, interesting worth knowing videos! I did your three-day mini-course and I found it very helpful. I'm also doing 30 steps to better jazz plaing. Through your videos, content, content and good stuff you've changed my way of improvising!
Thank you for everything! I'am so happy now!
Greetings, Rafa😊
Rafa you made my day! So glad I've been able to help you!
This is such a great video (partly because it validates what I already do), but also because it demonstrates enough simplicity to free one's mind (and fingers, I might add) to create real musical ideas. Joes Pass said something similar in one of his instructional videos that he only thinks of three chords - major minor and dominant. This is a very refreshing change to the overwhelmingly scalar playing you hear most of the time, and which, to my ears, does not sound musical at all.
I suspect, though, that a heightened focus on learning standards (like your other excellent video) can do more for really good phrasing than scale knowledge.
Thanks very much!
I think the two most important scales for jazz in mind mind are major, and melodic minor. between those two, you can really play almost anything between major and minor keys, different "flavors" of half diminished chords (depending on if you are in the major, or minor key) and of course altering the dominant chords with the flat 9 and flat 13. It's true that you don't get a scale that really fits a fully diminished chord, but that can just be covered by arpeggios . I think more important than the diminished scale is the classic jazz vocab that you get from melodic minor. That cool minor be-bop sound that you hear so often from players like Dexter Gordon, and Lee Morgan.
Hey Chris, I think a lot of others agree with you as well! Both can be used quite well to conceptualize jazz language
Good video. Just watched it after becoming bamboozled with too many options elsewhere. This explains the relationship to chords so well and will help in my own teaching. I would add the major and minor pentatonics though, as well as the blues scale. Good to think about the blues scale as an enhanced minor pentatonic - this keeps it all simple and related.
I like your style and concise delivery. I agree with you completely. Thank you.
I hope you had a great time to Euboia! Very glad to hear it! Greetings from Athens! And as always a great video.
Always a great time over there! I visit Athens at least once a year.
Learning half whole diminished changed my piano playing forever. Three patterns, 24 scales! On guitar, just one moveable pattern that anyone can learn in an afternoon, that will change your guitar playing forever. Because it is symmetrical, it can go half whole half whole...over a dominant chord or whole half whole half...over a diminished chord. Slight variation yields Locrian and super Locrian, a really delicious altered scale. Thanks for the way you teach, that is, understanding the complexity, but teaching the simplicity. The curse.of most experts is that they come to understand the simplicity (how else to explain the piano playing of Oscar Peterson), but teach the complexity. I highly recommend your book on learning jazz standards,. A negligible cost, less than lunch for two, but in the couple months since I bought it, hundreds of hours of fruitful practice. So a couple of pennies per hour, and I am only 1/5 of the way through. Best investment I ever made in my music hobby. Your videos are a critical supplement.
I like your concept of pitch collections. It seems to enable the player to arrange pitches into the construction of whole that is satisfying to the ear.
i think the most important are major of course, and melodic minor because the modes also works with some major scale chords
I LOVE to alternate between "blues boxes" over dominant 7ths (with the b3) and warm and lovely Maj pents. It's a nice little Blues-Country kind of a thing, very Skinnard, or it can go more down home Alabama if you want.
Exceptionally good explanation of using just two scales as a guide…
I like to play the chromatic scale and find ways/patterns to disguise it!
I think of the whole half diminished pattern as going up from the root like a minor scale and down from a root like the major scale and using the notes either side of the fifth! I like your comment about focusing on the diminished chord tones because, as you say, you are so rarely on a diminished chord for long.
Melodic minor would probably be the third. Gives you that second choice for altered dominants and half diminished. (as you mentioned). But yes I totally agree - the major scale and it's uses are often underestimated. I was happy to see this video.
Definitely agree with you Matt!
BTW, a good old pentatonic box can be moved to various degrees of a scale. I found a vid where Scott Henderson talks about that
Brent ___ I started my, 'Musical Journey 70 years 'late' . Being 77, I missed acquiring the skills needed to play Music...I play Modes. Whatever Key' I hear, is either ,#1 Major or, minor #6.
Once I determine which one I'm 'In, I am able, to find the other Modes by Degree... however:
I feel as if I'm not playing Music, I am only playing the compatible Chord Tones as supplemental to others. Any Suggestions?
I agree totally...selecting the appropriate major scale is how I understand most of my own attempts at improvisation...pentatonics are great too to limit a beginning player to fewer notes and then you can do a lot by working on rhythm and phrasing to create something surprisingly cool. Many beginners will be frustrated listening to your examples...although you mention using chromaticism around the major scale tones you fall easily into using some extra notes to the major scale. Any tips for beginners on which chromatic note selections you use most often?
Ur right major and the melodic on minor 251 but rthymn is fundemental in making it hang together no matter what time is played , weak beats versus strong beats, and that takes time injest in order to have the space
The ones that sound good. :)
Try them all and remember that if you think a note is bad you are only a half step up or down (or both) away from a "good" note
Hey Colin, I can understand that. There's a lot to be said on this subject. But first, you can simply play the chromatic notes in between the scale tones. But then you can start getting more intentional about it. Enclosures is a good way to conceptualize this. Here's a video on that: th-cam.com/video/DwESkieP8OA/w-d-xo.html
@@Learnjazzstandards Thanks Brent, really respect and appreciate what you're doing on your channel. Will keep listening and trying out stuff and hopefully keep improving gradually. My philosophy is to remember that music is an artform and we can start out "painting by numbers". It's ok that we may never absolutely emulate our idols but will develop our own unique sound that we can enjoy and hopefully is appreciated by some :-)
Yes it would be great to see simply for a visual Fram of reference.
The guys a super brainy jazz cat - love the channel and thank you 👍
Ha! Thanks Benjamin
Excellent!
Thanks Samuel!
If you’re a guitar player - minor pentatonic 😂
Haha! So true
In Aminor🤣🤣🤣🤣🤣
I wish you would also display lessons ect in Bass Cleff
Hey Lou, I can get that frustration. It's hard for me to get everything perfect for everyone since almost all instruments follow my content
Yes, I guess 2 scales works. I rarely think about scales. The exception:. I really like McCoy Tyner type pentatonic scales to play outside, and straight chromatic ideas that I hear George Benson play. The rest is thinking about chord tones and some of my stolen Bebop type phrases which have become part of my vocabulary.
I think of it as a Cdim7 chord, plus a Ddim7 chord. Also half whole would be a Cdim7 chord with a Gdiim7 chord.
Brent. Technically you are correct. You used one major scale, and 3 different modes. But from a student's perspective, I would argue that the statement is misleading, because every mode is a different fingering to remember. So while each of the mode only uses the notes from a parent major scale, they are each a different pattern to memorize and practice. You did mention in your show that some people make the "different scales" argument, which I just did. But by downplaying the argument, I think one is oblivious to the challenges of learning those modes. As to what I think are important scales.... Well, I would say pentatonic or blues. Because the either "skip" some tones, or add chromatic notes, they sound "jazzy" with few notes. With my limited abilities, the fewer notes the better.
Hey Rene, I hear you! You are coming from a guitar players perspective. But the problem with the way you are thinking about scales, is you are thinking of them as linear patterns, not "pitch collections." The ideal place to get with scales, in my humble opinion, is to not see definitions of this scale or that scale, but rather a map of note choices you can choose from. Yes, you should be able to play all the different scales linearly, but the only use of this, in my opinion, is to learn how to navigate your instrument, which is not improvisation, its just proficiency on your instrument. All that being said, when it comes to improv the benefit of seeing things simply like this, is to help you think more pitch collections and less scales.
Thx frère
Thanks for watching!
Amazing!
The two most important scales for jazz blues are the Major and Minor pentatonic/blues scale. Everything else can be easily formed from these two - Arpeggios, Diatonics, 4 note digital cells - everything...
Major scale makes perfect sense to me. I'd call it a diatonic scale because, no matter which note it's played from, it will always have two diatonic semitones. It perhaps can be construed as a mode. So, here's what I found. We only need three modes: pentatonic , diatonic and chromatic . In this case, diminished scale can, probably, be construed as a link of a sort between pentatonic and diatonic 😜
From the pages i have i see major scale touched with dim. Scale over Dom. Chords (1 b2 b3 3 #4 5 6 b7) where mixo-lydian would have been) and a bit of melodic m. I think especially for secondary dominants. *gasp*
The minor 7th arpeggios and how to substitute one for almost any chord plus the major/minor blues scales, which are just a minor 7th arpeggio and 2 more notes.
im a singer just a few months into learning improv. does this stuff apply? when im improvising i really don't have headspace to keep scales in mind. i can see how scales create a really helpful and visible framework for an instrumentalist, but are they relevant to training as a singer? im doing a weekly band practice with instrumentalists, there's not much input from the teacher on how to practice and he doesn't know much about the voice. any tips? i am loving your videos and finding them really helpful, thank you so much
In the context of education for a musician just starting out in learning to play jazz music I feel that utilizing Major and Melodic minor scales are more analogous to Major / Minor pentatonic scales for learning jazz improvisation.
From the aforementioned scales the key element of differentiating major /minor tonality (3rd degree) is being reinforced and learning to improvise with 2 scales that have closely sounding interval patterns but provide a different tonality by only one note change is a tremendous help for the novice jazz improvisor.
So those are my 2 suggested tools for the novice jazz improvisor.
Awesome, thanks for sharing!
Do any jazz standards employ whole tone scale. I think your whole half scale is what classical players call octatonic. Any standards use the whole half?
Im always searching for how to make beginner jazz scales... The videos that only come out are Major scales for jazz, Melodic Minor, How to use Chord tones and add a whole note to make different scales, modesbleeeeeh, whiiiiich oooooone
Since you ask; IMHO the major diatonic, and natural minor (aeolian).
Diminished for sure but bebop is also good to learn
Dorian Mode for sure and Jazz melodic min
It'd be REALLY great if we could see your hands on the guitar. At least that would make this guitarist happy.
Augmented, Min+M7, suspended?? What to use?
Major & harmonic minor
Awesome, could you explain your choices?
First of all, I also don't want to talk much about modes, because on ii we can name what we play not Dorian, but Major with focus on supertonic. This way the only extra scale we need is when we see something with flat five or Aug or 11+, so we need something like whole tone or half whole or harmonic minor. It is a matter of taste. If we don't want to add extra we can pass through strange cord or use arpeggio or chromatism in major focusing on alterations. If we do have experience with alterations and extensions of unusual chords(and we seriously should) we can use only major+modes+alterations.
Do you have to change scales with every chord?
I would say the chromatic scale is also a must know. Often under used. Thanks Brent good video lesson.
Hi Yelk, agreed! But all the chromatic scale is is simply all of the 12 notes we use in Western harmony. I suppose I could have made a video- Only 1 Scale You Need to Know for Jazz Improv! Hmmm, now you've got me thinking!
Melodic and harmonic minor
Awesome! Can you explain why?
Ummm... because both derive from the natural minor with raised or lowered 6ths or 7ths - and therefore work over 7 chords and min7b/#5s?
@@martinrhodes1619 I like it
how is the Dorian mode a maj7? It has a minor 3rd and a flat 7???
Please, can yoy put the guitar neck on the screen , thank you 😊
Pentatonic scale.
Awesome Jay! Could you explain why?
@@Learnjazzstandards I don't think he's gonna
How about no scale at all, and no arpeggio? Name one great jazz musician who plays lines as scales and I'll still prove you else wise. Unfortunately, even our alma mater fell victim to that age old vice: Chord Scale Theory obsession. Narrowing it down to the major and minor scale weeds out all the bs, but we need an overhaul in jazz ed. Down with CST and up with a deep understanding of melodic construction. Not licks, melodic construction. Parker had a keen ear for melody, and so did Coltrane. Running scales ain't gonna get you to sound like jazz, even from the onset. Instead, we should be teaching small melodic cells or fragments. Scales from root to root are very rare in jazz improvisation, and even arpeggios are used in very specific ways--it's not just R 3 5 7 to no end. Mark Turner uses arpeggios, but he uses them in a very specific way (we'd need to transcribe him for ourselves to ingrain that type of playing). Even enclosures are used strategically. I think we're all looking for a magical formula to create jazz. It's right under our ears, it's in the jazz records themselves.
Major /minor( +7 and +6 and+7)m melodic Harmonic
No Phrygian Dominant? How am I supposed to play over Spain?
I would say the blues scale
Major and Melodic Minor
✔️
Mode Scale and Altered Scale
Thanks for sharing!
I'm too much of a Noobie to comment, but I think the Pentatonic and Blues scales would be important. I'm trying to wrap my head around modes now, but they are just built off of the scales.
You are basically talking about Modal music that goes back several hundred years, and by the way, in early classical music, the "Locrian" mode was not allowed by certain authorities such as the Catholic Church. It was considered to (dark), Ha! Modal music was VERY popular in Jazz, in the 60's...(Coltrane). Here is a thought... No scales at all, just half and whole steps, as the late great "Eric Dolphy" practiced, or, even no scales at all that express any chord at all, as in "Serial" or "Tone Row" compositions, example: (Reginald Smith). Thanks,
.
Haven't watched the main part of the video yet.
Going to guess Major and Harmonic Minor.
Pentatonic scale
Blues scale
Altered scale
1 scales = 7 modes?
Melodic minor and harmonic minor
Major bebop scales and diminished
Melodic minor..Major
This Is absurd two won't cut It lol
Can't even see your guitar. More guitar less guitar face.