This is a great lesson so well taught. I have struggled with these two concepts for years, alt dom and dim scales. Today it all fell into place. Nothing to do now but get it in all keys on the saxophone, but already just in C it sounds great. Heartfelt thanks and greetings from Ireland/Spain
I noticed that I had a comment about a helpful trick for remembering the altered scale. I want to make a improvement. All major scales follow this pattern C D E F G A B C.. Just flat all notes except the Root. Going backwards is easier C Bb Ab Gb Fb Eb Db C. Forward .. it is C Db Eb E Gb Ab Bb C First 4 notes are from the half whole diminished scale the rest are the whole note scale. E Gb Ab Bb C
That's a tremendous way to see this scale! So, you're saying "Play in the key of C flat major, except the C is natural" Excellent! (which is simply Db melodic minor) Another one I like to use too is ... play in C major, except the C note is sharp. Which is C# D E F G A B C ... which is D melodic minor. Or C# altered.
@@jazzguitar Basically..that is B Major..C to C.. or course that will have sharps..I'll do it..in flats below.. Db Eb Gb Bb C E GA C Now flats to sharps Never tried it before C C# D# E F# G A A# C I sometimes go down to major 3rd from the octave in whole steps. C Bb Ab Gb then E Eb Db C ..it never fails. Just another time we can practice our major scales. Thank you for your feed back
Hi Marc, thanks for the lesson on alt Dom and dim Scale. I play guitars for several years and it's quite easy for me to get the 'normal' scale/patterns into my fingers. But as I'm a Jazz beginner, I wonder how to master all that variations of the basic schales. Maybe you Fan give me a hint. Thanks & regards, Jürgen
Hi Jürgen, I find that it takes a lot of TIME and EXPERIMENTATION. For example, you need to find a systemic approach of practicing a bunch of different variations of the dominant chord and chordscales: the mixolydian mode, the same with a b6 and where you would use it (think of the VI chord, as a secondary dominant heading to the ii chord), the same with a b6/b9 chord (think of the V chord of a minor scale), etc. It's really long work, but it really just takes a lot of time making connections between the scale, the fretboard, the sound, the function, and the theory. Sorry I don't have many shortcuts here!
Yes Phrygian does have a b9, BUT in this case we're really using parts of the altered scale and diminished scale (which have a flat 9 as well). See here: www.jazzguitarlessons.net/blog/whole-tone-diminished-altered-scales
You can do it quite directly, Ernie: apply the exact same steps related to dominant chords to the C7, and then do the same thing over F7. You'll get really interesting sounds that way.
Jazz Guitar Lessons I h u...I find the Diminish/Altered scale to be a giant in Jazz improv..I love the ease in how you use it and as you explained, be careful to fall on the chord notes..seem like the 3 Families can be used flawlessly
Definitely! You can look at this two ways: 1. Analyze the relationship of each note to the root of the II chord. For example, an Ab over Dm7 will be a b5; a Bb would be a b13. 2. View a bar II-V as either a II -OR- a V chord; i.e. ignore the II chord, or ignore the V chord.
Is the scale called mixolydian b9 and mixolydian #9? also are they both from the meolodic minor modes this stuff is way harder then playing Metallica lol!
Hi Fred, Surely that's not your real name unless the Limp Bizkit singer is learning jazz guitar! LOL. The first one being discussed here is actually from the harmonic major scale (major scale with a b6). But I think the main thing to take away is the concept of adding or altering certain notes to get out sounds. This is the case in the second example you mentioned. Feel free to ask anymore questions. Hope this helps :)
Thank you sir for the easy explaination, just altering the scale makes it user friendly and comprehensive. I will now make passionate love to my L5........copy...
When it was my turn I didn't do a good job but you still said good job. Thank you! You're a very nice guy!
You're welcome! Glad you're enjoying the lessons! Have fun practicing.
This is such a good lesson - you helped me find 'that sound' i was looking for for ages in about 7 minutes. Thanks so much! Keep it up!
Great! I'm glad this worked for you!
Marc, the trading solos, is one the best ideas to show us the lesson. It's almost like an interactive lesson. Thank you so much !!!
Great! Glad you like the stuff. Have fun with the exercise and keep me posted! :-)
whatta lesson GREAT!!! Thank u so much, more plsss
Thank you so much. Greetings from Tjep Indonesia
Thank you so much! Greetings from Rio, Brazil!
Thanks for the comment! Glad you like it!
God... Amazing lesson, my thanks from my heart dude, thanks
Glad you enjoyed it!
Tuning in from the Caribbean - excellent tutorial Mark and thank you for your generosity.
This is wonderful to hear! Thanks for your comments.
Wow this guy really wants to teach you it's so obvious that he teaches from his heart
This is a great lesson so well taught. I have struggled with these two concepts for years, alt dom and dim scales. Today it all fell into place. Nothing to do now but get it in all keys on the saxophone, but already just in C it sounds great. Heartfelt thanks and greetings from Ireland/Spain
I'm glad to hear you're getting so much out of the course! Enjoy the course and Keep me posted!
Thanks!
bloody clear you'r un really good teacher bro!
Thank you! Glad you enjoyed it :)
Great lesson. Great instructor! Love the interactive aspect. Thank you!
That's very kind. Thank you so much!
You are very clear! It's a good idea to jam with the viewers. Thank you for sharing!
My pleasure! Thanks for tuning in as always!
Thank you
Thank YOU
Faaaantastic!! Lesson, opens a complete new world!
Thanks! I'm thrilled to hear this has worked so wonderfully for you.
Great lesson ... Thanks.
Glad you enjoyed it!
Thank you very much, this is very helpful.
Thanks, Ketan!
the most helpful lesson since I played the guitar....from Da Nang Vietnam.
Thank you much!
Hvala na sjajnim lekcijama. Hvala 100 puta😀
Clear and extremely useful, thank you.
Thank YOU for watching!
Super, Marc!
Thank you Luc! :)
great thanks Marck
Great lesson !! Saludos desde Venezuela.
My pleasure! Thanks for tuning in as always!
NIce lesson. I shared on Google plus too. Having a little Diatonic Chord series knowledge helped me pick this up!!
Hey thanks for the comment! Videos like this are designed to help. Thanks for watching!
Your trading solo sections always make me feels appreciated. Thanks, man
Haha, I'm glad! Thanks for playing along!
Thanck you, from Maranhão, Brazil.
Thank you, Andre! Glad you enjoyed it! :)
I noticed that I had a comment about a helpful trick for remembering the altered scale.
I want to make a improvement.
All major scales follow this pattern
C D E F G A B C.. Just flat all notes except the Root. Going backwards is easier C Bb Ab Gb Fb Eb Db C.
Forward .. it is C Db Eb E Gb Ab Bb C
First 4 notes are from the half whole diminished scale the rest are the whole note scale. E Gb Ab Bb C
That's a tremendous way to see this scale!
So, you're saying "Play in the key of C flat major, except the C is natural" Excellent! (which is simply Db melodic minor)
Another one I like to use too is ... play in C major, except the C note is sharp. Which is C# D E F G A B C ... which is D melodic minor. Or C# altered.
@@jazzguitar Basically..that is B Major..C to C.. or course that will have sharps..I'll do it..in flats below..
Db Eb Gb Bb
C E GA C
Now flats to sharps
Never tried it before
C C# D# E F# G A A# C
I sometimes go down to major 3rd from the octave in whole steps.
C Bb Ab Gb then E Eb Db C ..it never fails. Just another time we can practice our major scales. Thank you for your feed back
Super! Thx a lot:)
You're welcome! Thanks for watching
Hi Marc,
thanks for the lesson on alt Dom and dim Scale. I play guitars for several years and it's quite easy for me to get the 'normal' scale/patterns into my fingers. But as I'm a Jazz beginner, I wonder how to master all that variations of the basic schales. Maybe you Fan give me a hint.
Thanks & regards,
Jürgen
Hi Jürgen, I find that it takes a lot of TIME and EXPERIMENTATION. For example, you need to find a systemic approach of practicing a bunch of different variations of the dominant chord and chordscales: the mixolydian mode, the same with a b6 and where you would use it (think of the VI chord, as a secondary dominant heading to the ii chord), the same with a b6/b9 chord (think of the V chord of a minor scale), etc. It's really long work, but it really just takes a lot of time making connections between the scale, the fretboard, the sound, the function, and the theory. Sorry I don't have many shortcuts here!
Adding the flat 9, that makes it Phrygian right??
Yes Phrygian does have a b9, BUT in this case we're really using parts of the altered scale and diminished scale (which have a flat 9 as well). See here: www.jazzguitarlessons.net/blog/whole-tone-diminished-altered-scales
Hey, Marc, how do you get that sweet tone?
Hi there! You can find some of those details here:
www.jazzguitarlessons.net/blog/marc-jazz-guitar-gear
Thanks :)
tnxs again man! these tips and tricks really turns me on rsrsrsrs
Regards from Brazil !
Thanks for watching and I am glad that these tips help you!
Nice lesson...can I ask how to apply this over a C7-F7 jam??
You can do it quite directly, Ernie: apply the exact same steps related to dominant chords to the C7, and then do the same thing over F7. You'll get really interesting sounds that way.
Jazz Guitar Lessons I h u...I find the Diminish/Altered scale to be a giant in Jazz improv..I love the ease in how you use it and as you explained, be careful to fall on the chord notes..seem like the 3 Families can be used flawlessly
Is it possible to play the this scale not only above the V, but also the II?
Definitely! You can look at this two ways:
1. Analyze the relationship of each note to the root of the II chord. For example, an Ab over Dm7 will be a b5; a Bb would be a b13.
2. View a bar II-V as either a II -OR- a V chord; i.e. ignore the II chord, or ignore the V chord.
Thanks, I found this lesson very helpful!
Thank you, Matthias!
Is the scale called mixolydian b9 and mixolydian #9? also are they both from the meolodic minor modes this stuff is way harder then playing Metallica lol!
Hi Fred,
Surely that's not your real name unless the Limp Bizkit singer is learning jazz guitar! LOL. The first one being discussed here is actually from the harmonic major scale (major scale with a b6). But I think the main thing to take away is the concept of adding or altering certain notes to get out sounds. This is the case in the second example you mentioned. Feel free to ask anymore questions. Hope this helps :)
Adding the b9 to the G mixolydian makes it a C harmonic major scale. Just another way to think of it.
Yes it does! Good insight. :)
Exact 10,000th view ! ;)
Yes it is! Thanks for your continuous support.
Thank you sir for the easy explaination, just altering the scale makes it user friendly and comprehensive. I will now make passionate love to my L5........copy...
Hahahaha, great! Glad we could offer up some inspiration :)
Bonjour, tes videos sont interessantes mais pourquoi jamais en francais!!
Désolé: si je m'adresse au traffic de TH-cam en français, je me prive de 90% (ou plus) des visionnements. En plus, le jazz, c'est Américain :-)
Jazz Guitar Lessons merci, c'est malgré tout dommage et heureusement le jazz est universel et non exclusivement américain !
Bonne continuation
No get it....
If you have any specific questions, I would be happy to help. Thanks :)
So basically just act like you're playing a major scale and play all the wrong notes lol
Pretty much! :P
Lol yup.
How about- sounding jazzy =wrong direction.
Learn music theory. There are no short cuts.
again......tooooo much talk
Too much talk