I've been playing the electric bass for 12 years now and finally someone managed to explain to me (from a theory point of view) why the blues scale works over a dominant chord. My life is complete now, thank you.
This is the first time I’ve ever started to understand improvisation to a slightly higher level than just diatonicism, and I’ve been playing piano for 70% of my lifetime 😂 thank you thank you thank tou
I was doing some Bebop/ Gypsy jazz 🎸 Last night ran into the altered scale licks. Diminished whole tone scale is a way to remember it. Of course you have know it's the half whole step dimin. scale so s good way to see it is to write it out in the key we almost all started in (C). C altered scale. C Db D# E Gb Ab Bb C. The 1/2 whole dim.scale gives us the major third E. The whole 1/2 would be these notes...C D Eb F..wont work gives us a minor 3. So a good way to immediately start using in any key is to go down in whole steps . In C .. C Bb Ab Gb to E. From E on the the major 3rd of C there are 5 whole steps up to the C..So there are are only about 3 things we need to know.. the last of which is that this has a b9 and #9. That is the Db and D# in this case. You should always remember that is a the second note a semitone up ..that automatically will show that this the 1/2 Dim. beginning.
You are the best tutor! To gain a deep understanding one should often repeat each one of your videos. You give clear explanation (and the reasons behind) to every lesson. Thanks for the lesson!
Man these videos are amazing! As a young jazz musician that seeks but sometimes fails finding this kimd of invaluable knowledge please don't stop! Thank you sooo much for this great instruction!
This video is exactly what I have been looking for, (thanks), but now that I have found and watched it, I am exhausted. I heard your intro about how you first learned only Classical /diatonic piano, (same as most kids), and started on Jazz later, but as my 9 year old showed more interest in Jazz, Blues and Rock I have broken this general trend and switched her now, from Grade 5 diatonic piano to Grade 5 Jazz piano. I will be showing her this video, (but maybe split into 2 or 3 parts).
That's fantastic. I think many parents make their children play classical music because it is more 'academic' and 'respectable', often despite the kid's preferences. So it's great that you're facilitating her interest. It'll maintain her interest in piano if she's enjoying what she's playing. And you don't find many 9 year olds who are interested in Jazz. Brilliant! Thanks for the comment, Gattapadre. And apologies for the long and dense video :)
Is there a SW which lists the scales which can be used to improvise over a given chord (with or without an upper structure) ideally with an optional feature to then reduce the scales shown in the list to only those which also match a previous and/or following chord (again with or without upper structures)?
OMG! WOW! That makes perfect sense! It's actually really obvious but until someone says it, it's quite a difficult thing to get your head around! Thank you so much! 👍👏
man i love your videos and your ethics of not showing subscriber count because you want to keep your videos highly educational and not get biased by "youtube". do what ya do mate, love your videos!
your jazz videos have come at a perfect time where ive been just getting into the complex world of jazz on guitar/piano. Is there any way you can cover a video on swing rhythm? thats the only i cant seem to wrap my head around
Hello, I found your video very clear, well-structured and informative and I must thank you for the efforts and the time you spent in the design and the editing of such an interesting document. In this video, you explain the conditions under which a given scale can be compatible with a particular chord by giving a principle: the chord and the scale must have the same third and the same seventh notes. You also describe two additional mechanisms: - the enharmonics, for example the possibility to understand a b3 as being a #2; and - the missing notes, for example the Major Pentatonic Scale may be seen as having two notes missing because it contains only five notes, compared to the major scale, from which it derives, which contains seven notes. On the basis of this theory (the principle and the two mechanisms), you take two examples of scales that can be played against some particular chords: - the Blues Scale can be compatible with a dominant chord because, applying both of the principles listed above, the b3 can be seen as a #2 (enharmonics principle) and, because it contains only six notes, the missing note of the Blues Scale may well be a normal third (missing notes principle) even if this note is not played; - Using only the second principle (the missing notes), you can also explain that the Major Pentatonic Scale can be compatible with a dominant chord or major chord depending on whether we consider that, respectively a b7 or a normal 7 is missing. Applying this theory, I have come up with the following questions: - How can you explain that the Dorian b2 scale, which does not contain any normal 3 or b4 and which contains seven notes (so there are no missing notes), can be compatible with the dominant chord? - It is interesting to see from the Altered Scale that a b4 can be enharmonically seen as a 3 and make the scale compatible with the dominant chord. Hence, in the Whole Tone Scale, for example, we could change the 3 into a b4 and, thanks to the missing note of this scale, consider b3 to be the missing note to make the scale compatible with a minor chord. Can we really do that? - In a similar vein, when we have two missing notes in a scale, we can simply consider any third and any seventh to be the missing notes and the scale could thus be compatible with any 3-7 configurations. Thus, the Major Pentatonic Scale should be compatible with any of these four chords: major (3, 7) and dominant (3, b7) but also, after changing the 3 into a b4, minor (b3, b7) and minor-major (b3, 7). However, I do not think that the Major Pentatonic Scale may be compatible with minor and minor-major chords! If it is indeed not, then why? To summarize, either I missed something in the theory itself or I apply it too extensively, in which case I would like to know its limits. Thank you again and happy new year 2017. Samuel
Hi Samuel, Great questions! I'll deal with the easy one first: 1. One of the things I regret about this video is that I did not make one point clear enough. There is a card at about 12:40 which says the following: "Please note that if a scale has both a Major and a minor 3rd: - the minor 3rd is always a #9 - the Major 3rd is always the real 3rd" This is because the Major 3rd is a stronger sounding interval (the technical reason is that it is lower on the overtone series than the minor 3rd) So even though a b4 acts as a M3, a M3 cannot act like a b4. It doesn't work the other way around. A m3 can be a #9, but a M3 cannot be anything other than a M3. I should have made this clearer in the video. Sorry. So this answers question 2 & 3, about the wholetone scale and the major pentatonic. The M3 in those scales means they can only be played over a chord with a M3. The M3 is constant and immovable. You cannot make it disappear. 2. The Dorian b2 scale is an interesting one. Firstly, just because a scale has seven notes, doesn't mean it cannot be 'missing' a note. There are also scale that have 8 notes (like the diminished scale). I touch on the dorian b2 mode in my video on Melodic Minor Modes and more so in my video on the Phrygian Chord. The short(ish) answer is this: - You can technically use the Dorian b2 mode on a minor7 chord, but the b2 will be a very dissonant avoid note (because it clashes with the root). It acts like a b9, which is not an available tension over a minor7 chord. - In practice, very few (if any) people use the dorian b2 mode over a minor7 chord. Instead they use it over a Phrygian Chord (susb9 chord). The b9 IS an available tension over a dominant chord so is no longer an avoid note. So you can think about this in two ways: a) The b3 of the Dorian b2 mode is really a #9 and we are missing the M3 (which is fine, because scales are allowed to have as many notes as necessary - for example, the chromatic scale); or b) The Dorian b2 mode is generally used over a Phrygian Chord, which is a suspended chord so there is no M3, it's been replaced by a 4. So D Dorian b2 mode = D Eb F G A B C D Phrygian Chord (D7susb9) = D G A C Eb Notice all the notes in that chord are also in the Dorian b2 mode. So this scale fits perfectly over this chord. The Eb is a b9 and the F is a #9 - which creates a very interesting sound over a sus or dominant chord. As I mentioned already, I cover this in my video on the Phrygian Chord so check that out if you like. Does that answer your questions satisfactorily? Let me know if you have any follow up questions.
Hello and thank you. Yes, you answered my questions very methodically and comprehensively, providing rich and useful details, for example on the overtone series, which I am going to study more in detail, or on the phrygian chord. It is maybe worth noting here that the Dorian b2 scale is sometimes called Phrygian natural 6, which confirms what you were explaining. I am going to watch your other videos with a lot of interest. Thank you again.
Meditating on what you explained in your previous answer, I take the liberty to ask you the two following questions: 1. In your answer 2 a) you give more details on the conditions under which we can see a b3 as a #9. If I well understood, we could say that any scale compatible with a minor chord should also be compatible with a dominant chord because for any of them, we can always replace the b3 with a #9 and assume that there is a M3 in the scale, unless the avoid notes be not the same between minor and dominant. Similarly, we could also say that any scale compatible with a minor-major chord should also be compatible with a major chord. Can you confirm that? 2. Does it work in a similar way for the 7th note? For example, in the Altered Scale, which contains a b7, could we see this b7 as a #6 and imagine that there is a natural 7 which would make the scale compatible with a major chord? Thank you again for your time and for sharing your knowledge. Regards, Samuel
Hey Samuel, So, as you suggest, it all has to do with 'available tensions' and 'avoid notes'. Here are the available tensions for the following chords: - Maj7 = 9, #11, 13 - m7 = 9, 11, 13 - V7 = b9, 9, #9, #11, b13, 13 And all the other tensions are 'avoid notes'. So, for example, the avoid notes over a V7 chord are the natural 11 and Maj7. So, speaking purely technically, you can use any minor scale over a dominant chord, but the Perf4 and Maj7 of the scale (if applicable) would be avoid notes. So take the chord C7 = C E G Bb Now: 1. C Dorian #4 (4th mode of G Harmonic Minor) = C D Eb F# G A Bb This scale would fit perfectly over a C7 chord, with no avoid notes, because it avoids the F and the B. When analysed as degrees of the C7 chord, this scale gives: 1, 9, #9, #11, 5, 13, b7. All of these are either chord tones or available tensions. 2. C Dorian = C D Eb F G A Bb This scale can be used over a C7 chord, but has 1 avoid notes (the F). When analysed as degrees of the C7 chord, this scale gives: 1, 9, #9, 11, 5, 13, b7. Only the 11 is not an available tension. 3. C Melodic Minor = C D Eb F G A B This scale can be used over a C7 chord, but has 2 avoid notes (the F & B). When analysed as degrees of the C7 chord, this scale gives: 1, 9, #9, 11, 5, 13, 7. The 11 and 7 are not available tensions. Now there are two complicating factors here: 1. Just because a scale has an avoid note, doesn't mean you can't use it. You can use the C Major scale over a CMaj7 chord, even though it has an avoid note (F). You just have to be careful not to over-emphasise the avoid note, as this will create a lot of dissonance and tension. And actually creating dissonance and tension can be perfectly fine if you resolve it well. This implies that you can, in fact, use any scale over any chords, as long as you be careful to mind the avoid notes. In practice, jazz musicians tend to choose scales that minimise the number of avoid notes over a particular chord, but that doesn't mean you can't choose a scale with lots of avoid notes. I cover this topic here: th-cam.com/video/kGXIQE-AZc0/w-d-xo.html 2. The natural 11, while being an avoid note in a Jazz context, is actually perfectly fine in a blues context. A C7#9add11 chord is a very bluesy chord. So you can actually emphasise the nat11th of a C7 chord, and it will just sound a bit bluesy, especially with that #9 (which is, of course, a blue note). The B (Maj7) is a bit more problematic. Now, this doesn't work the same way for a Maj7 chord because a #9 is NOT an available tension over a Maj7 chord. A #9 would be an avoid note over a Maj7 chord, so you cannot use a scale that fits over a minMaj7 chord over a Maj7 chord. By that, I mean that you can, of course, use it, but the #9 will sound like an avoid note. But again, the #9 may sound good in a bluesy context over a Maj7 chord. For example, Charlie Parker's 'Blues for Alice' is a 12 bar blues but starts on a Maj7 chord (instead of a V7 chord). A #9 would be ok over a Maj7 chord in this context. And this idea does not apply to 7ths. This is because a #6 or #13 is not an available tension over any of the above chords. If you played a #6 (b7) over a Maj7 chord, it will sound like an avoid note. But, yet again: 1. You're allowed to play avoid notes to build tension, if you are able to then resolve it (for example by moving to the Maj7 or root) 2. It will sound fine in a bluesy context (like Blues for Alice) because the b7 is a blue note. I hope that makes some kind of sense to you. We are delving into the deep end of music theory here, where there are no more black and white answers. I realise the above answers are a little equivocal, but they are the best I can give when answering the rather complex questions you posed. At a certain level in music theory, there are no more right or wrong answers, there are only opinion. Anyway, hope this helped.
Thank you for this wonderful answer. I honestly do not know how you could have answered my questions better. I wish I had discovered your website and your videos earlier and I hope that our discussion help other visitors.
hey c major is ofcourse in F also, but you didn't say anything about playing F major scale over a Cmaj, is that because if you were to play a Cmaj7 the Bb would clash with the original 7?
Thank you for this I’m looking to compose everything from Pop music, jazz, R&B, Soul, and little bit of hip hop. I’m assuming this valuable information can be applied to all genres since it’s music theory correct?? I’ve always been curious on the correct way of adding notes/keys out side of the “key” I’m playing in.
This is typically the tutorial i was looking for, these tips are not very clear in Levine's books. Great job! One question about Dominant chord: I have the feeling that us, jazz pianists, do not really think about a specific scale over a chord during a chorus (as the four at 9:50), but more about the good colors we heard. I mean, like a 'mix' of all these different scales in the same time. I personally use a lot the Blues scale for a dominant scale, with also the b2/b9 and the b3 as an appogiature. Do you have the same feeling ?
your videos are an inspiration to me. Thank you so much! Wonder if you may help the many classical-trained pianists who watch your channel by making a video on how we may learn jazz piano step by step, other than watching all of your videos? I think a lot of us are used to systematic practice by score, but are quite confused on how to start practicing Jazz. Thank you!!
Thanks! I watched this one already and it's a good overview. But... just wondering if you may have a step-by-step guide on how one can learn Jazz from the very basics.. what should we do, such as transcriptions? learning the chords and scales first? how to practice step by step..? Thank you so much, WTB, you have the best channel!
Actually, interestingly enough, I'm currently working on a website which I hope will do exactly that. My goal is to create a step-by-step guide on how to learn Jazz. Unfortunately, it won't be ready for a few months, but I'll make some kind of announcement when it's ready. I tried to structure my video playlists in such a step by step kind of way. Jazz is homophonic, so you really only need to do two things to play it: 1. Play Jazz Chords (including chord substitution, jazzy chord voicings, understanding the harmonic function of chords, etc.) 2. Improvise (including Jazz Scales and Improvisation techniques) I would try to learn Jazz in the following way: 1. Learn about and understand Jazz Chords (7th chords, available tensions, sus chords, slash chords, substitution, etc). Understanding the harmonic foundation probably the most important thing you can do. 2. Practice playing Jazz chords using Jazz Chords Voicings. A Jazz Pianist's most important job is playing chords ('comping) with nice sounding voicings. 3. Practice improvising over a chord progression - this includes playing scales and using improvisation techniques These are the basics. Once you have your head around these things, you can start learning about common Jazz chord progressions (Rhythm changes, coltrane changes, etc) and learning about more Modern Jazz and Jazz Genres. If you’re starting from scratch, I’d watch my playlists in the following order: 1. Jazz Chords 2. Jazz Scales 3. Jazz Improvisation 4. Jazz Piano Chord Voicings 5. Jazz Reharmonisation These cover Standard Jazz Theory. Then, 6. Modern Jazz Theory (this covers your more avant-garde/out-there jazz and is currently a work in progress) My other playlists (Jazz Chord Progressions, Jazz Genres) are more stand alone playlists and are also a work in progress. It's also very important to constantly be listening to, transcribing, playing and reading about Jazz. Listening to great musicians like Bill Evans or Thelonious Monk will help a lot because you can actually hear and feel what they are trying to do, and then try recreate it on the piano yourself. So always listen to lots of Jazz. And if you haven't already, read both of Mark Levine's book - The Jazz Piano Book and The Jazz Theory Book. These are both considered classics in the Jazz teaching world. And, as I mentioned at the beginning of this very long reply, I'll hopefully have a completed website up and running in a few months time, which might help you a bit also. Apologies for the long winded reply!
Interesting to know that what I've been calling the ultra-diminished scale (my own name for it) that I've been using for over 30 years is actually called the Dominant Diminished. Great video. Look forward to watching the rest :)
Cheers, Ian. Yeah, it's got a couple of names - Dominant Diminished or the Half-Whole Diminished Scale. I've got a separate video dedicated to that one scale, if you're interested. Thanks for the comment.
OMG thank you so much man, so, scale sources are not arbitrary. My conservatory teachers always use lydian mode on isolated maj7 chords, but I have used Ionian putting the 11ht in weak times and it sounds great. why just used sub dominant scale sources on isolate chords I mean : Xmaj7= Lydian. X mi7 = Dorian if we can use other scales. . thanks man
Can I switch between the list of "available" scales mid-improvisation? Say I'm improvising over a V7 chord and I switch between the whole tone and blues scale, which allows me to play both the 3 (from the whole tone scale) and the b3 (from the blues scale), and I repeat that for areas where the scale "lacks" the note, eventually leading to me being able to play all 12 notes. If I can do that, what is the point then of separating different scales rather than just playing any note I want?
I've notice that while improvising since I'm not worked about the melody when I'm woodshedding I'll play a blues scale.. it's not exactly model so with the right chords they sound good and perk up the ear while playing with people listening I experiment it pn comfort chords .. it usually sounds good and sometimes it sounds a little strange like new age ECT. but it's always in the eaers of the listener.. I grew up banging on the notes of people's pianos thinking back people were patient.. my granddaughter was doing the same time but only on the white notes then I try the black notes what followed was just a cacaughfany of notes.. I had created a musical monster lol.
Thanks a lot .. I recently started practicing altered scale over dominant 7 on trumpet . I played for about 2 days but it feels very unstable ..not enjoying the experience at all . how do I practice it .. should I mix it with mixolydian. Apart from the 3rd and 7th how do I treat the other notes ? Are all other notes more like passing tones ?
Great Videos! your explanations of difficult concepts are precise and clear, got to ask how many years have you been teaching, and if you do online lessons? :-)
Hi, ViChenec. I've been teaching on and off for about 4 years, I think. Though certainly not very consistently. I probably do much more reading and learning than teaching. I'm afraid I don't do online lessons at the moment. But feel free to ask if you have any questions and I'll do my best to answer :)
I asking this without watching through the whole video, so just ignore it if it gets mentioned later in the video: Since you can play a G Major over CMaj7 does this mean that you can basically play the fifths scale over any chord? For example playing A Major over DMaj7, or is it something that I am forgetting about? Also, if I play a Modal Jazz song in D Dorian can I technically also play a F Sharp and it will sound fine in the context of modal harmony, you know since it is the second mode of C Major? Sorry if these questions are nobrainer, I am 15 years old and just trying to wrap my head around all of this, and this is a great source of information, thank you very much.
No worries, Stian. 1. For all Maj7 chords you can use the Major scale a 5th higher than the root note of the chord. This gives you a scale called the 'Lydian mode' which you can use over any Maj7 chord. So: CMaj7 -> use G Major Scale (this is called C Lydian Mode and is just a C Major scale with a #4 [F#]) DMaj7 -> use A Major Scale (this is called D Lydian Mode and is just a D Major scale with a #4 [G#]) and so on. The Lydian mode is just like a Major Scale but with a #4. The Lydian mode only works over Maj7 chords. Dominant 7 and minor 7 chords have their own scales. For example, the C Lydian Mode (G Major) will not work over a Dm7 chord. It only works over the CMaj7 chord (the I chord) 2. Modal Jazz is a little bit different. It doesn't use 'chord progressions' in the same way that traditional 'tonal' Jazz does. The goal of Modal Jazz is to capture the sound of a particular scale - so if you are playing a song in the key of D Dorian, you should generally stick to the D Dorian scale (with occasional passing notes) rather than using a completely different scale. This is a very broad generalisation - you can use different scales in a modal jazz context, but this is moving you more towards 'free jazz'. I've got a whole playlist on this topic, it's a bit difficult to summarise, unfortunately. Keep at it! All these things take time and practice and patience. You're doing great if you can get your head around this at 15 y.o. I certainly didn't understand any of this when I was 15. Does that make sense? Feel free to keep asking. That's the only way you learn.
Have you herd Freddy Freeloader? Think you can make a video making up rythem for that song? Because my solo is comping up after sometime in class. And i am out of ideas.
I think the scale spelling of the Locrian Mode is wrong. I think it should be a b4. Fb. I’m a rock guitarist trying to get into jazz. I actually found that studying it from the piano via videos such as yours is more beneficial than jazz guitar videos. I think the musical principles and concepts are passed on to the student in a better way via piano especially with your camera angle being right above the keyboard. Also the way you explain things as a piano teacher seems to come across better than jazz guitar teachers via TH-cam. It may simply be that music is best talk from the piano.
Thank you for this, so when I'm playing C maj 7 chord, I can play an F# note, since the notes in C maj 7 can be derived from the G major scale. Is that correct?
Technically yes, but it would sound horrific. You would generally only use one of each degree of tension. One 9th (b, nat or #) The #11 One 13th (b or nat)
The natural 11 sounds fine in a Blues context. Blues works a little bit differently to standard Western harmony. Also, it's perfectly fine to use an avoid note. You just don't want to over emphasise it. But again, you can when used in a Blues setting.
Thanks, mate.I do have a video on secondary dominants (explaining what they are): th-cam.com/video/alDSEBsxJIw/w-d-xo.html But I haven't yet explained what scales are generally used over them. In short, it's just the relevant diatonic scale but with a note adjusted to account for the 'outside' note in the secondary dominant.
I like how you explain such a difficult subject but I had to press stop just after the halfway mark. I find that in a lot of these videos, there is a sense of urgency in the tutors voice and an intensity that makes me feel a bit stressed out! Also there is a tendency to cram far too much information into what is waaaaay too long a lesson. As a teacher myself I have to be very conscious of this as I am a bit of a stress head Lol and I tend to waffle....Dump or lessen the compression if you use it, make the video shorter and use pauses and more inflections.... and I reckon your likes n subs will double 😎
when you said f# over thee c chord I said wait a minute Lydian... and then you said Lydian..I usually think in terms of # four instead of the chord extensions. I paused at 10.21 and just looked at all the info you had there...I have the c whole tone scale forever now..cde 123. white notes then in flats gflat aflat bflat.
Walk That Bass I thought about that after I sent that and questioned why and now I am taking the time to write it out in a short hand thing that I just came up with .using space bar periods and letters will post that later .
Walk That Bass yeah I know that basic c lydian scale has a sharp 4 in it and I think I do need to think in terms of extensions and it's a nice little trick to go up by one whole tone and put the d and f# in chord or melody were basically in 9th # 11 and 13th territory when when we put in the a..
Yep exactly right. I find thinking in terms of chords and extensions (i.e. vertically) easier, so if that works for you, go for it. There are lots of different ways to think about and express the same thing.
Thank you very much. I can understand all of this, but I still don't grasp the simple concept of "using", or "playing" a scale. By using/playing a scale, does it mean I am restricted to use only notes that are declared in that scale? Let's suppose CDEFGAB scale which does not have sharps or flats in it. If I play it with some notes sharp or flat, does that mean I'm already playing another scale? Or does that simply mean that I'm playing the same scale but with sharp/flat modification on some notes? This is what I don't understand.
Yes , if you alter the major scale you will get a different sound and a scale (might not have a name though ) . Before trying to understand different scales , it is very important to understand the sound of the major scale and it's modes. Modes need to be practiced in the right way and we need to understand the important notes in them.. I too am learning and I always get stuck with the same sound while improvisation which gets boring soon.i need to work a lot now Using different scales and modes properly.So once you reach a point where you can play(improvise) at least Dorian over minor, mixolydian over dominant( in ii v I chord progression )knowing the important notes of the modes and it's connection with the major scale . Before learning the melodic ,harmonic, whole tone , altered scale . Try using all the major modes on a single major chord , then all minor modes over a single minor chord .. ,then dominant needs a lot of focus. You can play literally everything on it. . Try using different modes over ii v i . You do not have to restrict yourself to the notes in a scale. Try using notes that are not there in the scale as passing notes or even try landing on such notes.. we need to forget that we are playing scales.soon you you will be able to hear notes in your head that you didn't earlier. Sorry about my English x😂
Diminished chords are generally treated as rootless V7b9 chords in Jazz - so the 5th of the diminished chord is actually the 7th of the disguised dominant chord.
I've been playing the electric bass for 12 years now and finally someone managed to explain to me (from a theory point of view) why the blues scale works over a dominant chord. My life is complete now, thank you.
This video cuts through the haze of applying scales to progressions by giving us the underlying theory.just what I needed.
This is the first time I’ve ever started to understand improvisation to a slightly higher level than just diatonicism, and I’ve been playing piano for 70% of my lifetime 😂 thank you thank you thank tou
I was doing some Bebop/ Gypsy jazz 🎸 Last night ran into the altered scale licks. Diminished whole tone scale is a way to remember it. Of course you have know it's the half whole step dimin.
scale so s good way to see it is to write it out in the key we almost
all started in (C). C altered scale. C Db D# E Gb Ab Bb C. The 1/2 whole dim.scale gives us the major third E. The whole 1/2 would be these notes...C D Eb F..wont work gives us a minor 3. So a good way to immediately start using in any key is to go down in whole steps . In C .. C Bb Ab Gb to E. From E on the the major 3rd of C there are 5 whole steps up to the C..So there are are only about 3 things we need to know.. the last of which is that this has a b9 and #9. That is the Db and D# in this case. You should always remember that is a the second note a semitone up ..that automatically will show that this the 1/2 Dim. beginning.
An excellent explanation. Sir, I would like to know what kind of chords I should play while jamming in Major blues and Minor blues scales?
You are the best tutor! To gain a deep understanding one should often repeat each one of your videos. You give clear explanation (and the reasons behind) to every lesson. Thanks for the lesson!
This one is a very important lesson. Thanks a lot.
+fundorinlive Agreed. No worries :)
This video is awesome, finally a person who really understand this
Man these videos are amazing! As a young jazz musician that seeks but sometimes fails finding this kimd of invaluable knowledge please don't stop! Thank you sooo much for this great instruction!
+patricio dieck Thanks, Patricio. You're most welcome. Glad you found it useful.
This video is exactly what I have been looking for, (thanks), but now that I have found and watched it, I am exhausted. I heard your intro about how you first learned only Classical /diatonic piano, (same as most kids), and started on Jazz later, but as my 9 year old showed more interest in Jazz, Blues and Rock I have broken this general trend and switched her now, from Grade 5 diatonic piano to Grade 5 Jazz piano. I will be showing her this video, (but maybe split into 2 or 3 parts).
That's fantastic. I think many parents make their children play classical music because it is more 'academic' and 'respectable', often despite the kid's preferences. So it's great that you're facilitating her interest. It'll maintain her interest in piano if she's enjoying what she's playing. And you don't find many 9 year olds who are interested in Jazz. Brilliant!
Thanks for the comment, Gattapadre. And apologies for the long and dense video :)
Seriously, you're the best. Priceless videos. Grazie mille and all the best!
I'm listening and learning but this is a little beyond me right now so I'll be back. I've subscribed.
Thanks, Charmain. Feel free to ask any questions if you get stuck anywhere.
Did u ever come back and learn
brilliant. this lecture is always I want to know. now I find it. thanks so much.
Wow! This is one of the best theory lessons I've ever experienced. It answered a lot of questions I had. Clear and thorough! Thank you so much.
My pleasure, Jim.
Is there a SW which lists the scales which can be used to improvise over a given chord (with or without an upper structure) ideally with an optional feature to then reduce the scales shown in the list to only those which also match a previous and/or following chord (again with or without upper structures)?
Best jazz channel.
OMG! WOW! That makes perfect sense! It's actually really obvious but until someone says it, it's quite a difficult thing to get your head around!
Thank you so much! 👍👏
man i love your videos and your ethics of not showing subscriber count because you want to keep your videos highly educational and not get biased by "youtube". do what ya do mate, love your videos!
Mate you so at explaining theory and presenting it in an easy way . Thanks very much
Eye opening knowledge. Thank you sir!
your jazz videos have come at a perfect time where ive been just getting into the complex world of jazz on guitar/piano. Is there any way you can cover a video on swing rhythm? thats the only i cant seem to wrap my head around
You mean just a video on Swing Rhythm, as opposed to Straight Rhythm?
If so, I've got one here: th-cam.com/video/UZrQQ1dZR5k/w-d-xo.html
Had a bit of a eureka moment thanks to your explanation here, keep up the good work!
Great tutorial! Very clear and just what I was after.
How do you know which are the avoid notes?
Hello,
I found your video very clear, well-structured and informative and I must thank you for the efforts and the time you spent in the design and the editing of such an interesting document.
In this video, you explain the conditions under which a given scale can be compatible with a particular chord by giving a principle: the chord and the scale must have the same third and the same seventh notes. You also describe two additional mechanisms:
- the enharmonics, for example the possibility to understand a b3 as being a #2; and
- the missing notes, for example the Major Pentatonic Scale may be seen as having two notes missing because it contains only five notes, compared to the major scale, from which it derives, which contains seven notes.
On the basis of this theory (the principle and the two mechanisms), you take two examples of scales that can be played against some particular chords:
- the Blues Scale can be compatible with a dominant chord because, applying both of the principles listed above, the b3 can be seen as a #2 (enharmonics principle) and, because it contains only six notes, the missing note of the Blues Scale may well be a normal third (missing notes principle) even if this note is not played;
- Using only the second principle (the missing notes), you can also explain that the Major Pentatonic Scale can be compatible with a dominant chord or major chord depending on whether we consider that, respectively a b7 or a normal 7 is missing.
Applying this theory, I have come up with the following questions:
- How can you explain that the Dorian b2 scale, which does not contain any normal 3 or b4 and which contains seven notes (so there are no missing notes), can be compatible with the dominant chord?
- It is interesting to see from the Altered Scale that a b4 can be enharmonically seen as a 3 and make the scale compatible with the dominant chord. Hence, in the Whole Tone Scale, for example, we could change the 3 into a b4 and, thanks to the missing note of this scale, consider b3 to be the missing note to make the scale compatible with a minor chord. Can we really do that?
- In a similar vein, when we have two missing notes in a scale, we can simply consider any third and any seventh to be the missing notes and the scale could thus be compatible with any 3-7 configurations. Thus, the Major Pentatonic Scale should be compatible with any of these four chords: major (3, 7) and dominant (3, b7) but also, after changing the 3 into a b4, minor (b3, b7) and minor-major (b3, 7). However, I do not think that the Major Pentatonic Scale may be compatible with minor and minor-major chords! If it is indeed not, then why?
To summarize, either I missed something in the theory itself or I apply it too extensively, in which case I would like to know its limits.
Thank you again and happy new year 2017.
Samuel
Hi Samuel,
Great questions!
I'll deal with the easy one first:
1. One of the things I regret about this video is that I did not make one point clear enough. There is a card at about 12:40 which says the following:
"Please note that if a scale has both a Major and a minor 3rd:
- the minor 3rd is always a #9
- the Major 3rd is always the real 3rd"
This is because the Major 3rd is a stronger sounding interval (the technical reason is that it is lower on the overtone series than the minor 3rd)
So even though a b4 acts as a M3, a M3 cannot act like a b4. It doesn't work the other way around. A m3 can be a #9, but a M3 cannot be anything other than a M3. I should have made this clearer in the video. Sorry.
So this answers question 2 & 3, about the wholetone scale and the major pentatonic. The M3 in those scales means they can only be played over a chord with a M3. The M3 is constant and immovable. You cannot make it disappear.
2. The Dorian b2 scale is an interesting one. Firstly, just because a scale has seven notes, doesn't mean it cannot be 'missing' a note. There are also scale that have 8 notes (like the diminished scale). I touch on the dorian b2 mode in my video on Melodic Minor Modes and more so in my video on the Phrygian Chord. The short(ish) answer is this:
- You can technically use the Dorian b2 mode on a minor7 chord, but the b2 will be a very dissonant avoid note (because it clashes with the root). It acts like a b9, which is not an available tension over a minor7 chord.
- In practice, very few (if any) people use the dorian b2 mode over a minor7 chord. Instead they use it over a Phrygian Chord (susb9 chord). The b9 IS an available tension over a dominant chord so is no longer an avoid note. So you can think about this in two ways:
a) The b3 of the Dorian b2 mode is really a #9 and we are missing the M3 (which is fine, because scales are allowed to have as many notes as necessary - for example, the chromatic scale); or
b) The Dorian b2 mode is generally used over a Phrygian Chord, which is a suspended chord so there is no M3, it's been replaced by a 4.
So D Dorian b2 mode = D Eb F G A B C
D Phrygian Chord (D7susb9) = D G A C Eb
Notice all the notes in that chord are also in the Dorian b2 mode. So this scale fits perfectly over this chord. The Eb is a b9 and the F is a #9 - which creates a very interesting sound over a sus or dominant chord.
As I mentioned already, I cover this in my video on the Phrygian Chord so check that out if you like.
Does that answer your questions satisfactorily? Let me know if you have any follow up questions.
Hello and thank you.
Yes, you answered my questions very methodically and comprehensively, providing rich and useful details, for example on the overtone series, which I am going to study more in detail, or on the phrygian chord. It is maybe worth noting here that the Dorian b2 scale is sometimes called Phrygian natural 6, which confirms what you were explaining.
I am going to watch your other videos with a lot of interest.
Thank you again.
Meditating on what you explained in your previous answer, I take the liberty to ask you the two following questions:
1. In your answer 2 a) you give more details on the conditions under which we can see a b3 as a #9. If I well understood, we could say that any scale compatible with a minor chord should also be compatible with a dominant chord because for any of them, we can always replace the b3 with a #9 and assume that there is a M3 in the scale, unless the avoid notes be not the same between minor and dominant. Similarly, we could also say that any scale compatible with a minor-major chord should also be compatible with a major chord. Can you confirm that?
2.
Does it work in a similar way for the 7th note? For example, in the Altered Scale, which contains a b7, could we see this b7 as a #6 and imagine that there is a natural 7 which would make the scale compatible with a major chord?
Thank you again for your time and for sharing your knowledge.
Regards,
Samuel
Hey Samuel,
So, as you suggest, it all has to do with 'available tensions' and 'avoid notes'. Here are the available tensions for the following chords:
- Maj7 = 9, #11, 13
- m7 = 9, 11, 13
- V7 = b9, 9, #9, #11, b13, 13
And all the other tensions are 'avoid notes'. So, for example, the avoid notes over a V7 chord are the natural 11 and Maj7.
So, speaking purely technically, you can use any minor scale over a dominant chord, but the Perf4 and Maj7 of the scale (if applicable) would be avoid notes.
So take the chord C7 = C E G Bb
Now:
1. C Dorian #4 (4th mode of G Harmonic Minor) = C D Eb F# G A Bb
This scale would fit perfectly over a C7 chord, with no avoid notes, because it avoids the F and the B. When analysed as degrees of the C7 chord, this scale gives: 1, 9, #9, #11, 5, 13, b7. All of these are either chord tones or available tensions.
2. C Dorian = C D Eb F G A Bb
This scale can be used over a C7 chord, but has 1 avoid notes (the F). When analysed as degrees of the C7 chord, this scale gives: 1, 9, #9, 11, 5, 13, b7. Only the 11 is not an available tension.
3. C Melodic Minor = C D Eb F G A B
This scale can be used over a C7 chord, but has 2 avoid notes (the F & B). When analysed as degrees of the C7 chord, this scale gives: 1, 9, #9, 11, 5, 13, 7. The 11 and 7 are not available tensions.
Now there are two complicating factors here:
1. Just because a scale has an avoid note, doesn't mean you can't use it. You can use the C Major scale over a CMaj7 chord, even though it has an avoid note (F). You just have to be careful not to over-emphasise the avoid note, as this will create a lot of dissonance and tension. And actually creating dissonance and tension can be perfectly fine if you resolve it well. This implies that you can, in fact, use any scale over any chords, as long as you be careful to mind the avoid notes. In practice, jazz musicians tend to choose scales that minimise the number of avoid notes over a particular chord, but that doesn't mean you can't choose a scale with lots of avoid notes.
I cover this topic here: th-cam.com/video/kGXIQE-AZc0/w-d-xo.html
2. The natural 11, while being an avoid note in a Jazz context, is actually perfectly fine in a blues context. A C7#9add11 chord is a very bluesy chord. So you can actually emphasise the nat11th of a C7 chord, and it will just sound a bit bluesy, especially with that #9 (which is, of course, a blue note). The B (Maj7) is a bit more problematic.
Now, this doesn't work the same way for a Maj7 chord because a #9 is NOT an available tension over a Maj7 chord. A #9 would be an avoid note over a Maj7 chord, so you cannot use a scale that fits over a minMaj7 chord over a Maj7 chord. By that, I mean that you can, of course, use it, but the #9 will sound like an avoid note. But again, the #9 may sound good in a bluesy context over a Maj7 chord. For example, Charlie Parker's 'Blues for Alice' is a 12 bar blues but starts on a Maj7 chord (instead of a V7 chord). A #9 would be ok over a Maj7 chord in this context.
And this idea does not apply to 7ths. This is because a #6 or #13 is not an available tension over any of the above chords. If you played a #6 (b7) over a Maj7 chord, it will sound like an avoid note.
But, yet again:
1. You're allowed to play avoid notes to build tension, if you are able to then resolve it (for example by moving to the Maj7 or root)
2. It will sound fine in a bluesy context (like Blues for Alice) because the b7 is a blue note.
I hope that makes some kind of sense to you. We are delving into the deep end of music theory here, where there are no more black and white answers. I realise the above answers are a little equivocal, but they are the best I can give when answering the rather complex questions you posed. At a certain level in music theory, there are no more right or wrong answers, there are only opinion. Anyway, hope this helped.
Thank you for this wonderful answer. I honestly do not know how you could have answered my questions better. I wish I had discovered your website and your videos earlier and I hope that our discussion help other visitors.
hey c major is ofcourse in F also, but you didn't say anything about playing F major scale over a Cmaj, is that because if you were to play a Cmaj7 the Bb would clash with the original 7?
you are gold sir!
Cheers, Richie :)
These lessons are fantastic. Cheers, Walk That Bass!
No worries, Thomas. Glad you like them.
This guy is fantastic, very effective and hands-on. thank you
No worries, AgroBeats.
(btw, sorry for the late reply. I was away on holiday for the last month.)
Walk That Bass yes, I knew it, I read your note... no problem at all and, again, thank you for all your effort
this helps a lot!!!
thanks you
+hangroover Glad to hear. Cheers.
what a clear video and very helpfully too. Thanks a lot man and keep walking that bass.
Thanks :) Will do.
Super food for the brain . Thx you sir just subscribe. 🇫🇷
You're just amazing. Thank you.
Thanks for posting your videos! I need to step up my theory game on keys and you are a great teacher.
Thanks, mate. Feel free to ask if you have any questions.
Thank you for this I’m looking to compose everything from Pop music, jazz, R&B, Soul, and little bit of hip hop. I’m assuming this valuable information can be applied to all genres since it’s music theory correct?? I’ve always been curious on the correct way of adding notes/keys out side of the “key” I’m playing in.
This is typically the tutorial i was looking for, these tips are not very clear in Levine's books. Great job! One question about Dominant chord: I have the feeling that us, jazz pianists, do not really think about a specific scale over a chord during a chorus (as the four at 9:50), but more about the good colors we heard. I mean, like a 'mix' of all these different scales in the same time. I personally use a lot the Blues scale for a dominant scale, with also the b2/b9 and the b3 as an appogiature. Do you have the same feeling ?
your videos are an inspiration to me. Thank you so much!
Wonder if you may help the many classical-trained pianists who watch your channel by making a video on how we may learn jazz piano step by step, other than watching all of your videos? I think a lot of us are used to systematic practice by score, but are quite confused on how to start practicing Jazz. Thank you!!
Hi. I've got this video which may be what you're after. Let me know: th-cam.com/video/WzLBA5kCP1w/w-d-xo.html
Thanks! I watched this one already and it's a good overview. But... just wondering if you may have a step-by-step guide on how one can learn Jazz from the very basics.. what should we do, such as transcriptions? learning the chords and scales first? how to practice step by step..? Thank you so much, WTB, you have the best channel!
Actually, interestingly enough, I'm currently working on a website which I hope will do exactly that. My goal is to create a step-by-step guide on how to learn Jazz. Unfortunately, it won't be ready for a few months, but I'll make some kind of announcement when it's ready.
I tried to structure my video playlists in such a step by step kind of way. Jazz is homophonic, so you really only need to do two things to play it:
1. Play Jazz Chords (including chord substitution, jazzy chord voicings, understanding the harmonic function of chords, etc.)
2. Improvise (including Jazz Scales and Improvisation techniques)
I would try to learn Jazz in the following way:
1. Learn about and understand Jazz Chords (7th chords, available tensions, sus chords, slash chords, substitution, etc). Understanding the harmonic foundation probably the most important thing you can do.
2. Practice playing Jazz chords using Jazz Chords Voicings. A Jazz Pianist's most important job is playing chords ('comping) with nice sounding voicings.
3. Practice improvising over a chord progression - this includes playing scales and using improvisation techniques
These are the basics. Once you have your head around these things, you can start learning about common Jazz chord progressions (Rhythm changes, coltrane changes, etc) and learning about more Modern Jazz and Jazz Genres.
If you’re starting from scratch, I’d watch my playlists in the following order:
1. Jazz Chords
2. Jazz Scales
3. Jazz Improvisation
4. Jazz Piano Chord Voicings
5. Jazz Reharmonisation
These cover Standard Jazz Theory. Then,
6. Modern Jazz Theory (this covers your more avant-garde/out-there jazz and is currently a work in progress)
My other playlists (Jazz Chord Progressions, Jazz Genres) are more stand alone playlists and are also a work in progress.
It's also very important to constantly be listening to, transcribing, playing and reading about Jazz. Listening to great musicians like Bill Evans or Thelonious Monk will help a lot because you can actually hear and feel what they are trying to do, and then try recreate it on the piano yourself. So always listen to lots of Jazz. And if you haven't already, read both of Mark Levine's book - The Jazz Piano Book and The Jazz Theory Book. These are both considered classics in the Jazz teaching world. And, as I mentioned at the beginning of this very long reply, I'll hopefully have a completed website up and running in a few months time, which might help you a bit also.
Apologies for the long winded reply!
Walk That Bass you have no idea how helpful you have been, thank you!!
Interesting to know that what I've been calling the ultra-diminished scale (my own name for it) that I've been using for over 30 years is actually called the Dominant Diminished. Great video. Look forward to watching the rest :)
Cheers, Ian. Yeah, it's got a couple of names - Dominant Diminished or the Half-Whole Diminished Scale. I've got a separate video dedicated to that one scale, if you're interested. Thanks for the comment.
Great. I'll check that one out, cheers. :)
Ian Craig "half/whole" tone scale XD
Great overvieuw of this theory!
Thanks, mate.
OMG thank you so much man, so, scale sources are not arbitrary. My conservatory teachers always use lydian mode on isolated maj7 chords, but I have used Ionian putting the 11ht in weak times and it sounds great. why just used sub dominant scale sources on isolate chords I mean : Xmaj7= Lydian. X mi7 = Dorian if we can use other scales. . thanks man
This lesson was brilliant thank you so much!
+Samuel D'souza My pleasure, Samuel.
Can I switch between the list of "available" scales mid-improvisation? Say I'm improvising over a V7 chord and I switch between the whole tone and blues scale, which allows me to play both the 3 (from the whole tone scale) and the b3 (from the blues scale), and I repeat that for areas where the scale "lacks" the note, eventually leading to me being able to play all 12 notes. If I can do that, what is the point then of separating different scales rather than just playing any note I want?
I've notice that while improvising since I'm not worked about the melody when I'm woodshedding I'll play a blues scale.. it's not exactly model so with the right chords they sound good and perk up the ear while playing with people listening I experiment it pn comfort chords .. it usually sounds good and sometimes it sounds a little strange like new age ECT. but it's always in the eaers of the listener.. I grew up banging on the notes of people's pianos thinking back people were patient.. my granddaughter was doing the same time but only on the white notes then I try the black notes what followed was just a cacaughfany of notes.. I had created a musical monster lol.
Sounds like you're well-versed in Free Jazz! :)
very clear, thanks!
No problem :)
Thanks a lot .. I recently started practicing altered scale over dominant 7 on trumpet . I played for about 2 days but it feels very unstable ..not enjoying the experience at all . how do I practice it .. should I mix it with mixolydian. Apart from the 3rd and 7th how do I treat the other notes ? Are all other notes more like passing tones ?
Excellent,very articulate.
Thank you, Peter.
Thank you very much for making this lesson and teaching me this.
Much love from México
Great, easy to understand. I just found you and subscribed.
Great teacher! Keep it up!
Thanks, Betty :)
@@WalkThatBass The pleasure's totally mine.
Great Videos! your explanations of difficult concepts are precise and clear, got to ask how many years have you been teaching, and if you do online lessons? :-)
Hi, ViChenec.
I've been teaching on and off for about 4 years, I think. Though certainly not very consistently. I probably do much more reading and learning than teaching.
I'm afraid I don't do online lessons at the moment. But feel free to ask if you have any questions and I'll do my best to answer :)
Checked !! thank you so much was a big qeustion ..BUT IS PAS NOW YEHA!!
I asking this without watching through the whole video, so just ignore it if it gets mentioned later in the video: Since you can play a G Major over CMaj7 does this mean that you can basically play the fifths scale over any chord? For example playing A Major over DMaj7, or is it something that I am forgetting about? Also, if I play a Modal Jazz song in D Dorian can I technically also play a F Sharp and it will sound fine in the context of modal harmony, you know since it is the second mode of C Major?
Sorry if these questions are nobrainer, I am 15 years old and just trying to wrap my head around all of this, and this is a great source of information, thank you very much.
No worries, Stian.
1. For all Maj7 chords you can use the Major scale a 5th higher than the root note of the chord. This gives you a scale called the 'Lydian mode' which you can use over any Maj7 chord. So:
CMaj7 -> use G Major Scale (this is called C Lydian Mode and is just a C Major scale with a #4 [F#])
DMaj7 -> use A Major Scale (this is called D Lydian Mode and is just a D Major scale with a #4 [G#])
and so on.
The Lydian mode is just like a Major Scale but with a #4.
The Lydian mode only works over Maj7 chords. Dominant 7 and minor 7 chords have their own scales.
For example, the C Lydian Mode (G Major) will not work over a Dm7 chord. It only works over the CMaj7 chord (the I chord)
2. Modal Jazz is a little bit different. It doesn't use 'chord progressions' in the same way that traditional 'tonal' Jazz does. The goal of Modal Jazz is to capture the sound of a particular scale - so if you are playing a song in the key of D Dorian, you should generally stick to the D Dorian scale (with occasional passing notes) rather than using a completely different scale.
This is a very broad generalisation - you can use different scales in a modal jazz context, but this is moving you more towards 'free jazz'.
I've got a whole playlist on this topic, it's a bit difficult to summarise, unfortunately.
Keep at it! All these things take time and practice and patience. You're doing great if you can get your head around this at 15 y.o. I certainly didn't understand any of this when I was 15.
Does that make sense? Feel free to keep asking. That's the only way you learn.
That was all I needed to know, thanks :)
Thanks! That's really helpful!
No worries :)
you are amazing. Thanks
AWESOME info....new sub !!!!
Thanks, mate. Hope you enjoy it :)
Have you herd Freddy Freeloader? Think you can make a video making up rythem for that song? Because my solo is comping up after sometime in class. And i am out of ideas.
I'll see what I can do.
yes yes yes thank you this s exactly what im looking for
Good stuff!
+udderhippo Thanks udderhippo.
This is awesome, thanks bro
Cheers, Giel. No worries :)
This is gold!!
I play guitar but come here for the music theory lol Thank you !
Thanks
thanks thanks thanks!!!
Is there a reason e.g. harmonic or whole tone scales aren't considered viable key signatures?
I think the scale spelling of the Locrian Mode is wrong. I think it should be a b4. Fb. I’m a rock guitarist trying to get into jazz. I actually found that studying it from the piano via videos such as yours is more beneficial than jazz guitar videos. I think the musical principles and concepts are passed on to the student in a better way via piano especially with your camera angle being right above the keyboard. Also the way you explain things as a piano teacher seems to come across better than jazz guitar teachers via TH-cam. It may simply be that music is best talk from the piano.
Thank you for this, so when I'm playing C maj 7 chord, I can play an F# note, since the notes in C maj 7 can be derived from the G major scale. Is that correct?
👍
@@davidantas9486 thank u
the available tensions of dominant7 are b9,9,#9,#11,b13,13,. does it mean we use voice a dominant 7th with all these tensions together at once
Technically yes, but it would sound horrific. You would generally only use one of each degree of tension.
One 9th (b, nat or #)
The #11
One 13th (b or nat)
is it good to land on F of c7 while using the blues scale,that's the avoid note
The natural 11 sounds fine in a Blues context. Blues works a little bit differently to standard Western harmony. Also, it's perfectly fine to use an avoid note. You just don't want to over emphasise it. But again, you can when used in a Blues setting.
Great lesson. Question, don't you have a video explaining secondary dominants and their scales, as you did it with the tritone subs?
Thanks, mate.I do have a video on secondary dominants (explaining what they are): th-cam.com/video/alDSEBsxJIw/w-d-xo.html
But I haven't yet explained what scales are generally used over them. In short, it's just the relevant diatonic scale but with a note adjusted to account for the 'outside' note in the secondary dominant.
Wait did you call the c altered scale melodic minor?
I love u man (not in gay meaning) for sharing a very important lesson!!!
SOUNDS GAY TO ME....
I like how you explain such a difficult subject but I had to press stop just after the halfway mark. I find that in a lot of these videos, there is a sense of urgency in the tutors voice and an intensity that makes me feel a bit stressed out! Also there is a tendency to cram far too much information into what is waaaaay too long a lesson. As a teacher myself I have to be very conscious of this as I am a bit of a stress head Lol and I tend to waffle....Dump or lessen the compression if you use it, make the video shorter and use pauses and more inflections.... and I reckon your likes n subs will double 😎
Thanks for the feedback. I'll take it on board. But surprisingly, my longer videos are generally the more popular ones.
❤️❤️❤️
when you said f# over thee c chord I said wait a minute Lydian... and then you said Lydian..I usually think in terms of # four instead of the chord extensions. I paused at 10.21 and just looked at all the info you had there...I have the c whole tone scale forever now..cde 123. white notes then in flats gflat aflat bflat.
yeah, exactly right. Scales and chords are interrelated, so if #4 is easier for you to remember rather than #11, just do what is easiest.
Walk That Bass I thought about that after I sent that and questioned why and now I am taking the time to write it out in a short hand thing that I just came up with .using space bar periods and letters will post that later .
Walk That Bass yeah I know that basic c lydian scale has a sharp 4 in it and I think I do need to think in terms of extensions and it's a nice little trick to go up by one whole tone and put the d and f# in chord or melody were basically in 9th # 11 and 13th territory when when we put in the a..
Yep exactly right. I find thinking in terms of chords and extensions (i.e. vertically) easier, so if that works for you, go for it. There are lots of different ways to think about and express the same thing.
its not altered scale its the half whole scale because of the fifth
Thank you very much. I can understand all of this, but I still don't grasp the simple concept of "using", or "playing" a scale. By using/playing a scale, does it mean I am restricted to use only notes that are declared in that scale? Let's suppose CDEFGAB scale which does not have sharps or flats in it. If I play it with some notes sharp or flat, does that mean I'm already playing another scale? Or does that simply mean that I'm playing the same scale but with sharp/flat modification on some notes? This is what I don't understand.
Yes , if you alter the major scale you will get a different sound and a scale (might not have a name though ) . Before trying to understand different scales , it is very important to understand the sound of the major scale and it's modes. Modes need to be practiced in the right way and we need to understand the important notes in them.. I too am learning and I always get stuck with the same sound while improvisation which gets boring soon.i need to work a lot now Using different scales and modes properly.So once you reach a point where you can play(improvise) at least Dorian over minor, mixolydian over dominant( in ii v I chord progression )knowing the important notes of the modes and it's connection with the major scale . Before learning the melodic ,harmonic, whole tone , altered scale . Try using all the major modes on a single major chord , then all minor modes over a single minor chord .. ,then dominant needs a lot of focus. You can play literally everything on it. . Try using different modes over ii v i .
You do not have to restrict yourself to the notes in a scale. Try using notes that are not there in the scale as passing notes or even try landing on such notes.. we need to forget that we are playing scales.soon you you will be able to hear notes in your head that you didn't earlier. Sorry about my English x😂
This video made me quit my piano lessons. Thank you.
You only play lydian mode over a IV maj chord. The first example is incorrect.
TLDR: So basically, just look at Circle of FIfth
as soon as this man started talking, i yeeted out so fast
Diminished chords would disagree with your assessment of the importance of the 5th.
Diminished chords are generally treated as rootless V7b9 chords in Jazz - so the 5th of the diminished chord is actually the 7th of the disguised dominant chord.
I think Hendricks dad was a musician I maybe wrong and I think he was a jazz musician..
Tune your piano