When I study jazz harmony, I am told to use an altered scale, or a melodic minor scale a half step above the dominant, on the dominant chord of ii V7 I progressions. Is Parker doing that here? If so, where? Thanks. An amazing job.
Parker, like many jazz artists aren't necessarily thinking in terms of what scale, mode etc to play over a chord but rather thinking more linearly (horizontally). If he does include notes a half step above a dominant for example, often he would be thinking of them as decorations of the harmony and how they move horizontally from one note to the next instead of as being part of the altered or melodic minor scales. Notes such as the flat and sharp 9th etc over D dominant 7th would be E flat and E sharp (F) which can move by step from and to the dominant's root note and 3rd. Thanks for your comment
@@decipheringguitarmusictheory Thank you for your reply. Yeah, I've come to think of it as something like this. Knowing scale and mode possibilities over chords is really just a starting place. It's sort of like a recipe to show you what is possible. But after opening up that scope of "tone possibilities," you've got to let your ear take over and hear it. And at that point, you start, as you said, thinking more linearly and less in terms of a "scale formula." But for us mere mortals, that takes a lot of time. Again, thanks for your work. It's great.
@@wormtownpaul Exactly. Playing at some of the speeds that Parker did you don't have time to be running through all of the scale and modal possibilities in your head and have to rely on your ears. It does take time but you'll definitely become a better improviser. All the best. Thanks for watching
Thank you so much
You're welcome
Thanks a lot
You're welcome Louis
I wonder why two people marked it down. I couldn't find a single mistake.
Re: marking the video down, to each their own I guess. Thanks for your 'vote of confidence'
When I study jazz harmony, I am told to use an altered scale, or a melodic minor scale a half step above the dominant, on the dominant chord of ii V7 I progressions. Is Parker doing that here? If so, where? Thanks. An amazing job.
Parker, like many jazz artists aren't necessarily thinking in terms of what scale, mode etc to play over a chord but rather thinking more linearly (horizontally). If he does include notes a half step above a dominant for example, often he would be thinking of them as decorations of the harmony and how they move horizontally from one note to the next instead of as being part of the altered or melodic minor scales. Notes such as the flat and sharp 9th etc over D dominant 7th would be E flat and E sharp (F) which can move by step from and to the dominant's root note and 3rd. Thanks for your comment
@@decipheringguitarmusictheory Thank you for your reply. Yeah, I've come to think of it as something like this. Knowing scale and mode possibilities over chords is really just a starting place. It's sort of like a recipe to show you what is possible. But after opening up that scope of "tone possibilities," you've got to let your ear take over and hear it. And at that point, you start, as you said, thinking more linearly and less in terms of a "scale formula." But for us mere mortals, that takes a lot of time. Again, thanks for your work. It's great.
@@wormtownpaul Exactly. Playing at some of the speeds that Parker did you don't have time to be running through all of the scale and modal possibilities in your head and have to rely on your ears.
It does take time but you'll definitely become a better improviser. All the best.
Thanks for watching
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You could have written a little smaller.