Mixolydian b6 is a great one, it just gives a nice augmented 5th air to a typical dominant sound, not entirely dissimilar from the b9b6 mixo you mentioned! Damn so many good ideas in this one, thanks again!!
You are thinking about the notes now. Try to play a G blues phrase in a II V I and compare it to a C blues phrase in the same place. I am pretty certain you will agree with me :) and on a side note: blues was not made to be played over dom7th chords. The original blues was mostly triads not dominants. That came later.
Hey Jens! Big fan of your work. Lately I've been trying to practice ii-V-I progressions staying in the same (or adjacent) position by exploring different chord voicings for each chord. At first trying to play them without extensions or tensions, and then adding them aiming at interesting voice leading ideas. Do you have any video relating to some similar approach? I would love to see it.
Thank you Luan! I have stuff like that in some of my Drop2 voicing videos and also this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7PbM1F8SpZM.html It is not exactly that approach though 🙂
i'm only jazz-curious , but the way i understand it is you can pretend like you're in minor, when the chords suggest you should be in major. (sometimes using an b2 like you're not in a straight minor (aeolian) but frygian). it may be an oversimplification which loses some details, but imo you gain the LOGIC of the melody. you keep the meaning (function) of the individual tones thus creating a coherent meaningful melody. The dominant chord itself is a mix between the 2(major-minor), because the 3suggests major while b7 suggest minor, thus this trick of blues that you can get away with pretending you're in minor, because the chord somewhat supports that.
If you want to really make music with it then you do need to learn to hear it and not rely on tricks though. It is not that useful to think something that doesn't fit with what you hear for that 🙂
Thanks I'll play around with these, but what would you do over a dom9 over something like this: Dmin9 E7#5 Amin7 D#dom9 ? Pentatonic stuff kinda works over the first three but not on the turnaround
Hi Jens, With the altered scale, when would you use the b5 in the chord? The reason I ask is in the examples you showed you didn't include the b5, you used the 3 and the b7 and the b13 and #9 and when would you use the b9? I assume you wouldn't play the #9 when using the b9? There just seems to be a lot of permutations of the chords you can use with this scale. Thanks. Awesome video
|n Prhygian dominant situations a 11 will work with b9(also when the 3 7 are in accomping, )not so much used... so I mean not E7 going to Cmaj Phrygian dominant but Phrygian scale G Ab Bb C D Eb F upon G7(+5), if you agree please let me know...
Pentatonic on the bIII will work on Ldian dominat I guess, but on the first stepp it will work because of the +5 for instance on blue bossa C blues scale on the G7+5 also the F# works as a bebop tone!and we have the #9 as a bonus!
Thats ok, What I meant was, If I am capable, there needs to be an end. whats is important , resolution in terms of letting your listener know you care about them. Im not very explainfull, Sorry Jens, Sometimes, its just a point to ask yourself, have you fufilled stuff, If, you can make someone cry a t the end,
Jens, I am working hard on absorbing this lesson, like I do on many of your video lessons. So much information that it takes me weeks, nay months! sometimes to begin to apply... but I follow the logic of your presentations well...but Sometimes the lack of emphasis (in diction?) on certain important points leads me to skip them, only to go back later and realize how important they are! Pacing leaves me behind sometimes. Still the best stuff on the web. I was curious if you had regard for Emily Remler's rather simple take on the altered scale (she calls it "jazz minor" 1/2 step above the V), its use with resolving V7, and using "jazz minor" scale on the 5th of the dominant for non-resolving V7. Those were seminal ideas for me, now I am gradually expanding my vocabulary in solo lines and comping thru your systematic approach. Very interested to see your forthcoming book. One other problem I am having is I dont want to write out examples...too tedious. I try to find a logic in your examples that I can lift and apply. Sometimes I can. But often I am left guessing about your choice of scale fragments or arpeggios within the examples. So some "easy" generalities toward successful construction that can be applied on the fly would be helpful to me. finally, I wish it was a little easier to grasp your concept of arpeggios versus chord voicings (solo line versus comping?) Thanks very much.
Thanks Scott! I am really glad you like the videos and put the stuff to use! I think Emily Remlers description of altered dominants and lydian dominants is ok, but it will only give you a scale and you still have to figure out how to play over those dominants with that scale. :) For the rest I think your approach to assimilate and use the concept behind my examples is a great way to work. There are things where where you want to copy others playing but that is not in exploring scales and arpeggios I think! Actually my concept between comping and soloing is very fluid so there is no description of where one ends and the other begins!
Wow! Brilliantly done I feel silly for not seeing the flat five a whole step below(fM7b5 )and step and a half above( Bb7b5) Duhhh no wonder why the blues scale works so greatly I mean its in the G dominate So nice to hear those colors!!
Hi. Great lesson again. Im actually practicing melodic minor a lot, and seeing how it fits over chords. Love it so far. I have lots of questions about it though, but this time I want to ask you a simple one. I remember you said once that playing the arpeggio of the chord placed a diatonic 3rd above the root of the actual sounding chord was the most natural and basic arpeggio substitution. Is that also true in melodic minor? I mean... If you play G7 as it was the 4th mode of the melodic minor scale, then the Bm7b5 arpeggio (6th degree of melodic minor) is the target. And if you play G7 as it was the 7th mode of the melodic minor scale, then the Bbm7 arpeggio (2nd degree of melodic minor) is the target. Is this a correct approach? Thank you very much.
The thing to remember is that G7 is not a diatonic chord in Ab melodic minor so that doesn't really work there 🙂 but the arpeggio from the third of the chord : Bmaj7#5 does actually work quite well..
but how come is not diatonic to a melodic minor scale?.. i mean, you do use the 4th or 7th mode (depending on whether is functional or static), and the 4th and 7th degree of a melodic minor scale can create a dominant 7th chord (maybe not always through stacks of thirds, but still, it can). And if it's not diatonic to a melodic minor scale, then, what scale does it belong to?
the progression is in C major but its borrowing extensions from the melodic minor scale on the dominant so it's C's dominant not melodic minor's. we are only briefly playing in melodic minor to high-lite some interesting colors on the chord for tension before it performs it's chordal function usually resolving to C. so if you wanted to you could just modulate into melodic minor from there but then it wouldn't quite be functioning as a dominant anymore and that's what the video is all about :) hope i got that right Jens thanks for the video!
Hi Jens. in example #5, the G diminished 7, you show the scale as being G,A,Bb,B,C#,D,E,F and in the arpeggio example you show G,B,D,F,Ab,C#,E, and numerically as 1,3,5,b7,9,#11,13 with the 9 being the Ab (which differs from the scale example), which I'm thinking is a b9 (hopefully I'm not going insane studying music theory, lol). The scale example contains the A, but is an Ab in the arpeggio example and in your chord examples you use the Ab. Please clarify. I learned a 7dim scale which we called the symmetrical dominant scale starting on the 8th degree of the diminished scale. It alternated between half and whole steps. 1,b9,#9, 3,#11,5, 6,b7, or ST,T,ST,T,ST,T,ST. Thank You
I don't know what the scale is called, but I also like to use G, A♭, B, C, D, E, F instead of octatonic scale (its a mode in harmonic major). Especially when playing a sus chord like G, A♭, C, E, F
Hello Master! Could you please leave the You Tube translation option active? I'm sure that the knowledge will be better used! Many people, who are not very fluent in the English language, would appreciate it! Thank you for your kindness!
great overview...I was trying to understand why the lydian sound does not resolve (means G7#11 -> Cmaj7 does not work well?) though there is 3, 7 that could resolve to root and 3 , and ..the #11 but could resolve to the tonic..??
Nice job, Jens. One minor typo - at 11:49 on the Dim scale graphic you have an Ab but label it as a 9 instead of b9. Lots of good ideas here - esp the characteristic arps. I sometimes use one of these approaches but move up/down in m3's, so using dim structure with other arps/chords.
Number 2 is similar to a Tritone substitute with the difference being the #5 instead of b5, if I'm not mistaken. Although I haven't been able to use the Tritone sub successfully yet , so maybe this is what I should use. Thanks for the info.
Once again, Jens produces a very useful lesson. Know of any scale that covers two dominant chords a whole step apart, ("Killer Joe") other than the whole tone or the 5th mode of melodic minor??
Do me a very small favor , could you talk about what folks think as soft, and hardness, to express resolution, at the end of what the heart expresses, so your fans understand.
There are other scale choices, what about Phrygian and Aeolian over a Dominant 7 chord...Bebop scale as well. Thank you for sharing some of your wonderful knowledge
Its very hard to explain, or express, but, feelings hard to equate to the math involved. Music wise, My dad would have been on his way to the big band era, than ww2 occured. we get to play because of sacrifice. glad to see you here!
Hej Magnus! Tusind tak! Det har jeg da! Der nogle Spotify Playlists her: jenslarsen.nl/media-en/audio/ og jeg har da også en discografi side på mit website!
Des sonorités nouvelles pour moi, à la fois hypnotiques mais également difficile à entendre et donc intégrer. Sans doute d’autres vidéos traitent elles du même sujet, et personnellement j’entends plus facilement sur un G7, un Am ou encore un Fm75- ou la substitution tritonique, Db7 5- pour résoudre sur C. J’avoue que j’ai du mal à m’y retrouver avec la notation de toutes les extensions. En tous les cas bravo pour cette ( ces) video(s) extrêmement enrichissantes.
Hi Jens! I can understand where the arpeggio is derived from, for example to form the sound of Gb9b13 (7th degree of G altered). But, where does Fmaj7 (b5) come from to generate the sound G Mixolidian sound?
Jens great lesson. However I am having a hard time keeping up with some of this. Building arpeggios on the modes and extensions is a bit too advanced for me. How did you learn all this? And what do I need to get there? Is there a pdf file for this lesson?
This does indeed require you to have a good overview of these scales. I think that is the kind of stuff you do once you have a few jazz standards you can play by heart? I don't remember if you can do that? The PDF is here: www.patreon.com/posts/6-most-important-18661389
@@JensLarsen I have songs like Satin Doll, Blue Bossa , Autumn Leaves down. Also Killer Joe, Cold Duck Time, Green Dolphin St. However, I may not have chord progressions down as well as I should.
@@BillyJ57 ah ok. I think you did indeed tell me that earlier, sorry. Ok. Then this is about taking one of those scales and getting used to the sound, really digging into the material and finding ways of using this. It is a huge amount of information if you are new to it, and you can easily spend a month on each scale if you are not used to it :)
jens ,μου προτειναν να παω στην Ολλανδια να σπουδασω για να ανοιξω περισσοτερο το μυαλο μου αλλα δεν υπαρχει μια.Ευτυχως που υπαρχεις εσυ(χωρις να θελω να σε αγχωσω)
Great lesson, definitely a way for me to explore new territory. My standard approach to dominant chords is to use either or both the pentatonic Major and Minor scales as a framework and then add #5 or b3 (the blue notes). I feel the blues scales have a strong melodic minor feel to them. Also I see dominant chords as the joker in diatonic harmony because it has both a major and a minor face to it.
I feel that the lydian dominant mode of the melodic minor scale and the blues minor scale share a lot of colours or notes particularly the #4 to b7 relationship. Being a bluesman at heart I see that as my quick cheat to getting a lydian dominant feel over the 7th chord.
Fantastic lesson Jens, thank you! I basically try to use these scales, although I am not able to use these tricky structures (arpeggios) within scales, most of the time I try to play some sort of pattern (especially for whole tone scale actually). Fretboard overview still represents big hold up for me unfortunately... Take care!
Thanks Omar! If fretboard overview is a limitation I would probably suggest leaving out the last two and focus on the other 4. That will build a stronger more useful fretboard overview to start with. Maybe this is something to take up in the Patreon FB group? Maybe there is something I can suggest in terms of exercises?
Thanks Jens, that is a great idea :), definitely I will think about it (to be fair, I am lacking some basic stuff, stabillity in all note location and much more, quickly naming notes of arpeggios etc), but even to have that option is fantastic!
hi,How do i arrange the notes on G7 with altered scale when singing and without bass player ,then end on C ? i must play bass note G first ,then scale notes?
Hi Jens, do you have a video where you talk about the two modes of the diminished symmetric scale? I understand that the possibilities are ST-T, T-ST but I do not quite understand how and in what context they are applied over and over and how to make them differentiate between them. Thank you!
I don't have that. If you want to use a scale over a chord then the chord has to be in the scale. If you think like this there is no confusion. Essentially the diminished scale is applied to a dominant chord or a dim chord, everything else is a special effect.
Idk if it's appropriate for what you're looking for... I'm more rock than anything. To me, it's a matter of taste. I personally, in some cases like the idea of the third rub sometimes. I would have to say I'd use the blues scale... From there it's a sure bet I'd feel adventurous and try Dorian too. Literally the same scale as mixolydian but a minor version. Isn't the dominant the most flexible chord anyway? ...having both major and minor elements?
That makes a lot of sense! Though then you are probably playing on a dominant that is modal or lasting a few bars and not as a part of a moving progression 🙂
Lololol!!!! Yes, your pretty quick as usual. In rock or metal its common place for me to have a melodic phrase that when connected to an underlying chord structure completes the chord, but maybe in arpeggio form. This underlying chord structure changes to mimic a progression. Say, Dm9, G13, C7/6. What ever it is. However, when playing over it I tend to view the fret board as a grid made of 7th chords. In the same way I see the key as one thing I see the arpeggio. In this text the scale is played every other note. Until the 7th obviously. 2,1,2 or 1,2,1 patterns on adjacent strings. Through the chord scale I can compare every other 7th chord to an inversion of the original chord it resolves to. Each position of each chord adding an additional upper extension or color tone. Sounds convoluted. The best way i can explain it is a grid. I'm new to jazz, but I'm catching on ... I hope.... I love the walking bass stuff.
I think you will find that the blues sound in the dominant is not that strong when the dominant is really part of a cadence. Mostly because we really need that leading note 🙂
Thank you for your responses. I was thinking about it being represented in che chord progression. These subtle differences are why I in particular always sound like a rocker mimicking something else. Haha! Like bad amp modeling. So you might favor either a diminished, harmonic or melodic minor borrowed mode, chord, arpeggio if not the basic mixolydian I'm guessing... ?
I am not offended :) I am not that into Lenny Breau, but I also don't know too much of his work. The solo guitar stuff is usually not what I think is great
Hi Robert, Lenny, Ted Greene, Joe Pass (..........) even Mr Rosenwinkel... It's the tradition in Jazz to play solo Guitar, I Love them all and i think We have to show respect, for what they have or are still doing, even if we're not into solo guitar , cause that " s u f f " is really Great ! and it's a big, very big challenge to improve your capability of making music. Peace and Love and Harmony.
@@MattBrillant I don't think it is disrespectful, to be honest about not wanting to spend hours or days on making a video that is not what I find great. Do you?
@@JensLarsen With all my respect i think there's a misunderstanding here, i didn't ask you to do anything that you're not able to. Solo guitar is a great "Stuff" even if you're not into. When you'll get older and more experienced (talking about the playin, not those youtube stuff) you'll be able to understand the challenge and the chill of playing solo guitar. Peace Love and Harmony may fall on all of us.
Hey Dude! Great vid, as always :) I really enjoy watching your videos and i thought it's time to drop a comment. You always focus on music-making and not on self-presentation like so many other youtubers. Keep it up mate! ...might be a bit off-topic, but what do you think of Hal Galper's Forward Motion? Greetings from a german jazz pianist :)
Thanks! Glad you like it! I was taught based on the Forward motion principles (I guess?) you can check out my target note videos to see how I use it. I never read his books though so how close my approach really is I am not sure. But I think it's probably a very solid method!
yeah, I think every good jazz musician with experience uses it instinctively. For me, when I was new to jazz, it was very hard to figure out why many of my lines sounded bad, although I was using the 'right' scales/chordtones. his book really blew my mind and I wish I would have found it before I went to music college haha :D despite I've been teached by many very different jazz professors I've never came across such an easy and logic way to understand why some lines sound awesome and others don't :D
