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
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
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!
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...
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
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 :)
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.
