Great lesson. That first hybrid scale (Dorian b5) happens to be my go-to over half diminished chords. Allows you to use a nat. 13 and a nat. 9. simultaneously with just one mode.
@@CharlesHarrisonMusicTuition Yeah, harmonic major is definitely neither talked about or used enough IMO. Not only does its second mode sound great over half diminished chords, but the first and fourth modes also work very nicely over tonics (in major and minor respectively). The other modes also have their uses; anyone who likes to make their Dorian or Lydian lines more exotic or "jagged" by borrowing modes from harmonic minor (i.e. Dorian #4 or Lydian #2) should definitely explore harmonic major, as it allows this to be done with melodic minor lines as well. Introducing augmented second intervals can change the character of a mode/chord in quite interesting ways without messing too much with the core tonality.
Excellent advanced lesson, Charles. You've certainly made a good study of theory. I have noticed, since I've been watching you. I'm certainly learning quite a few things out of this lesson. At the end the hybrid scale is most fascinating. I'd only seen 1 example of using a mode of the major harmonic scale by joe pass. Now you've shown another: the 2nd mode. I'm going to take this scale more seriously. In the past year I have embellished bebop scales by adding more chromatics to create very rich long runs for jazz improv on standards and the way you demonstrated the creation of that hybrid scale with 2 separate scales just inspired me to try that myself. Inspiring lesson. Tnx.
I love using what I call the Locrian Pentatonic scale (1, b3, 4, b5, b7), over a m6 chord. What I'm learning to use currently is the Dorian b9 with a passing tone between b7 & root, over a m6 chord. I'll use a "mode" of the Locrian Pentatonic over the m6 in this application (1, b9, 4, 5, b7). You can do cool things like mM7 arpeggio from b7 or a maj7+5 from the b9 of the Dorian b9, over a m6 vamp. Now that I've learned that b9b5 arpeggio from you, I can play that from the 5 of Dorian b9, for even more options. I like options. Options are fun!!!
Some lovely colours you've mentioned there! Where do you view the flat9 as coming from with regard to a minor6th chord? Do you interpret it specifically as melodic minor mode 2 or are you drawing it from somewhere else? Cheers
@@CharlesHarrisonMusicTuition I treat it as a passing tone or an avoid note. I wouldn't hang out on the b9 using a Zakk Wylde vibrato? lol! I'd use it as an enclosure ( b9, 7, 1... ).
Completely understand, although Zakk could get away with it! I have found it useful in recent years to think less about all of the overwhelming different scale options on each chord and to just experiment with filling the space between each chord tone however feels best on the fly. This is where I got the 'chromatic cells' approach I've talked about in the past from. Just sticking to chord tones and learning to fill the intervals in different ways. Have you dabbled in a less scale based approach like that? People will ask me which scale I was using and I was just messing around which I've found quite rewarding ;)
Exactly, this was my go to for many years before I moved in a less diatonic direction! You can't go wrong with just major and harmonic minor scales over 99% of movements. Cheers
Firstly, you can play anything over anything! If you like the sound then that's all that matters. Theoretically, C minor pentatonic doesn't work over C dominant 7 as there is a clash between the Eb in the pentatonic and the E natural in the chord. You know you like the sound though! However if this was an altered dominant then it blends really nicely with the #9 of the altered chord and would be theoretically correct. In an Em7b5 the Eb from the pentatonic would clash with both the E and D notes. Using Em7b5 over a C dominant gives an unaltered C9 sound. This is why the minor pentatonic is theoretically incorrect. If you like it though, go for it-anything works over anything if you can guide the sound effectively enough! Thank you for commenting and I hope that helps, cheers
@@CharlesHarrisonMusicTuition Thank you for the answer.. what I mean is in the context of 251 cadence in minor, Em7b5 as the 2, before going to A7 b9 and then Dm7.. I know there's clash with C min pent against Em7b5, which is beetween E against Eb and E#, but it will resolve anyway.. honestly I'm not sure if it's good or not 😄
@@CharlesHarrisonMusicTuition wow, thank you! I listen to it for the first time (I try it on my midi maker), I kinda like the sound, but surprisingly not as weird as I imagine it would be. Maybe because this superimposing pentatonic things is still sounds bluesy, which is natural in jazz (no matter how clash it is with the chord, as long as it have notes that sharing the characteristic of the chord)? I try : C min pent over Em7b5 F# min pent over A7b9 D dorian over Dm7 It sounds fine to me, maybe just need to work on the variation (not just running up and down scales) and rhytm/timing when playing real. Thank you again for your kind and informative answer 🙏🏻 I have one more question though, are Charlie Christian, Wes Montgomery and George Benson often doing this thing (experimentation on superimposing pentatonic) or is it more like modern jazz fusion thing like Scott Henderson, Pat Metheney, Allan Holdsworth?
The players you mention all used various superimposition tools. Remember that the pentatonic is just a minor 7 arpeggio with one additional note so it's not just a modern tool. You'll hear pentatonics in Bebop and earlier players all the time, certainly! Cheers
Why don’t you use the Am pentatonic scale?; it has the D, E and G, and the A and C as a non clashing bonus.…plus it has the A rootnote in it, where you’re probably heading to in a IIm7-5, V, I. Just saying:)
So many great options! I do tend to stick to the pentatonic on the 3rd of the key when I wish to play 'diatonically'. I regard the m7b5 as part of the dominant colour usually though. Cheers
