BLUE NOTE hidden in the altered dominant pentatonic | Bill Evans Fretboard Secrets [Video 5]

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BILL EVANS FRETBOARD SECRETS:
Jazz Guitar Mastery... By Thinking Like A Pianist
Video 5
Register at the link below to enjoy the full course for free AND to download the PDF with the notation for all course examples, scales, and voicings.
www.nycjazzguitarmasterclasse...
Inside the course we look at:
*The main difference between guitar and piano, and why piano players always seem to have a leg up on guitar players
*How Bill Evans constructs harmonies using triads, and how we can translate that to the fretboard
*How we can turn these into guitar friendly voicings and chords - from simple to advanced
*How to improvise elegant phrases by stealing Bill's use of triads to find the sweet spot note for lyrical improvisation... even over complex harmonies
Check out the free masterclass here...
www.nycjazzguitarmasterclasse...

Опубликовано:

12 апр 2024

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Комментарии : 17

@jordanklemonsjazzguitar 3 месяца назад

This is video5 of my newest free course - BILL EVANS FRETBOARD SECRETS: Jazz Guitar Mastery By Thinking Like A Pianist. If any of it went to by, it might be because I skimmed past topics covered in previous course videos. To check out the whole course and grab the PDF download with all of the notated examples, click the link below to register for free. www.nycjazzguitarmasterclasses.com/bill-evans-fretboard-secrets

@blindteo5808 3 месяца назад

Great stuff dude

@jordanklemonsjazzguitar 3 месяца назад

Thanks! Glad you dig it 🤘🏻

@cassweller39 3 месяца назад

The major 7th of the V chord is the blue note (b5) of the I chord. So by honking on a B over a C7alt you're anticipating a blues riff over the F7

@jordanklemonsjazzguitar 3 месяца назад

Yep! It doesn't always work out that logically. But that's one of the ways it can be understood and used in this case... let's us do that but still while suggesting the alt7 sound. Later on in the course when we apply that note into our cluster voicings chord scale... one of my favorite sounds ever 😎

@cassweller39 3 месяца назад

@@jordanklemonsjazzguitar I appreciate how your approach has wider application.. For any V7alt find the the pentatonic scale whose 3rd is the root of the V7alt. So for C7alt Ab, pentatonic. Add two tension notes, the b6 , E, the 3rd of C7alt and b3rd(+2), B, the major 7th relative to C. So Ab Bb B C Eb E. For a more parochial application, If you restore the 6th to F you have the pentatonic scale plus the blue note of the chord a minor 3rd down which can be played over F blues a la Milt Jackson and a million others. Thanks again for the lesson.

@jordanklemonsjazzguitar Месяц назад

You got it. And here's something trippy where it's not the actual blue note based on the resolution chord... your Ab pentatonic with the b6... that would be the pentatonic scale for an EMaj7#5. Now the E natural (chord's root note) will feel like a tension note wanting to resolve down to the major 7... and the #2 of Ab (B natural) is STILL the blue note. Meaning the natural 5th of the AUGMENTED Maj7 is the hidden blue note 😎 Sounds cool, right?!

@cassweller39 29 дней назад

@@jordanklemonsjazzguitar Right. Sounds cool. By the way, deriving the C7alt plus hidden blue note from E Maj7#5 lands you in George Russell territory. His formula for a scale that fits V7alt is the Lydian augmented scale whose root is the 3rd of the target V7alt, which is equivalent to the minor melodic a minor third down. That is, E Lydian augmented = Db minor melodic.

@jordanklemonsjazzguitar 28 дней назад

Except our E note is going to behave as a melodic tension note that wants to resolve down into the major 7th and we have our blue note hiding inside the natural 5th of a #11/#5 chord. But yes... as far as basic chord scale theory 101... this does overlap with Db melodic minor. Just with function (melodic tension vs resolution and the blues) built into our notes