THE ALTERED SCALE - THEORY - Lesson Time Stamps 00:59 WHEN TO USE THE ALTERED SCALE 01:10 Dominate Chords 04:05 CONSTRUCTING THE ALTERED SCALE 04:18 G Altered Scale 04:55 CREATING TENSION USING ARPEGGIOS 05:16 Ab Melodic Minor Chords 06:11 Building The VII Mode Chord 09:19 Building The I Mode Chord - Ab-^7 10:14 Building The I Mode Chord - B^7#5 11:49 SUMMARY ALTERED SCALE THEORY
Tom Bola is so right. You are the best Sandra. Very understandable. You have a great gift for explaining and demonstrating these tricky concepts. I can see how much work you put into it. We all thank you.
i have seen 10 videos on utube and your explanation is the best. i like it when things are actually written out and explained..................thanks from texas.
Sandra, you have a gift for this. Patience, and a great way of cheerfully (and that can probably be hard at times😉) presenting tricky concepts. And it boggles my mind that you do this in a second language! Thanks🙏😄
I won't repeat what others have already said about your teaching skills. Amazing! A lot to learn and absorb. I'll have to watch this again...a few times. PS: Did I mention, I really dig your "Brick Top"!
"Brick Top" was a very famous black Bar owner in the Pigalle area of Paris at the time of Django. And her style was a flash of Red hair on top of her head. There's a famous Django Pirece called "Brick Top" after her. I think she moved to South America during the Second World War. 😎@@GuitarversumSandraSherman
congrats. you've advanced to a favorite source for me. reliable continuity in quality, interesting subjects, sympathical presentation, and a quite good library. thx
@@GuitarversumSandraSherman Sandra, could you please tell me what's the intro song here? this intrigueing bassline gives me a feel of heavy metal jazz :) i like the dirty, powerful drive in this chunk!
You are the only person that could explain the melodic minor to well. I've been struggling with the melodic minor for awhile. The melodic minor finally makes since to me and it has enhanced my playing a lot. Sandra, Thank you very much for taking the time to make this video.
That was a great, clear, concise and theoretically tight explanation. Thank you. I have been trying to figure out what the devil musicians are talking about when the speak about Altered Chords. It has never made any sense and they all tell a different story. When I speak theoretically about it, they are the ones that get lost. I even ask them to show me what notes to play for any given altered chord, and they don't want to because "it depends". So I ask, "so what do I do when I see "Alt" on the sheet music? Apparently one is just supposed to know. This has been totally frustrating and convinced me that many musicians have no idea what they are talking about, they play well but have no idea what they are doing. I don't care about memorizing "what goes with what", it is no fun for me at all. What *I* like doing is inventing music and to do that effectively understanding the concept that holds everything together is *extremely* important, as you know. This lecture was wonderful. I totally get it now. I knew that it was the 7th mode of the melodic minor scale blah blah blah, and I have no problem playing it, but the concept the the "alterations" has never been understandable until you described it in terms of the extensions! Now it make perfect sense. When I practice arpeggios, I always practice every other note up for two octaves so the extensions are second nature to me. I have never seen the point of "playing the arpeggio" twice as I move up the neck, as many teach. Every other note will resolve back to the root at the end of the second octave by playing through the extensions. So that expands the "field of play", which for *me* is the whole point. The other part that put the entire concept together for me was your explanation of "when" to use it for walking "chromatically" to resolution. I do this all the time in my own work. Hence the "workhorse" part of the Altered concept, tension and resolution with more spice than just the half diminished approach, one can play with all the extensions and keep the "base sound". I just tried this "thought process" on the guitar and it works nicely. Now to play with it for a couple of years. Now I see why Jazz players use the concept so much, they are into ii-V-1 closures all the time so the Alt concept fits in perfectly and expands the playing field!!! Thank you Sandra. Thank you very much, MIchael Gerety.
Everything gets so much easier, once we understand things. I know a lot of people like you, who play those things already, but don't know what they're actually doing. With the knoledge at hand, you can now use it on purpose and in a more precise way. You can make better decisions, that combine knowledge and your ear. Keep swingin 🎸🎵
Great job on this one SS,the alt scale is one of my favorites (bassist) because there's alot of options and you can call it in real time ,or brings so much fun and challenge when doing a session or otherwise,Ur one of my favorite content makers ,keep up the good work 😺
@@GuitarversumSandraSherman I like using it in minor progressions Btw I always learn something new following you 🤓 and I've been playing for years! Ur very good at this ,I look forward to future content and always ur current and past content, I've already shared some with others, ur great, ttyl
Great breakdown, I was thinking along with you (I need to see these in action), you read my mind. I'll be looking forward to the next lesson, Thank You...! 😎
Altered scale licks won't be online next week, like Isaid in the video. There will be a few other lessons before that. I have a little delay, due to Covid.
I plan to suggest this video to my viewers. I only have 114 subscribers and some play only piano. However, this is directly applicable to piano. I noticed when you did the 5 and dropped down to 1 that was descending major 5 interval. It's easy to overlook things. When when you went to the 4..ok that's a major 4 down and up. The guitar is tuned in 4ths primarily and this helps us find the circle of fifths forwards and backwards.
You are a great teacher, really enjoying your videos. I am new into jazz, the way you break it down into simple concepts. So glad came across your channel. Keep up the good work. GREEEEEETINGS from Nagaland, India.😁
Thanks for this lesson, Sandra. I believe that there may be an error that has crept in at 5:18 in the video. You are explaining the diatonic chords made from the Ab Melodic Minor scale, and have listed the V chord as Eb7#5. If I'm not mistaken, the V chord should be Eb7 (no #5). Looking forward to the follow on video on making licks with the Galt scale!
Commenting as I go.. You probably have touched on this but it may help someone. If I am looking for the flat seven I know it's always a whole tone down from the root. Super easy to find. b7 of D is C..b7 of Eb is Db.. b7 Of E is D..b7 of F is Eb..b7 of Gb is Fb ( E)... b7 of G is is F..etc. A few more A is b7 of B ..G is b7 of A.. Has been super useful info to me. the b7 resolves to the major 3rd of the major triad up a major 4th. Eg. The chord C7 (C E G Bb) resolves to F.. (FA C)
@@GuitarversumSandraSherman Danke, ich bin gerade am durchforsten deiner Videos. Sind allesamt sehr lehrreich und mir gefällt, dass du hauptsächlich Jazz anbietest. Bleib auf jeden Fall deiner Linie treu. Jazz im Allgemeinen und Bossa Nova im Speziellen sind seit jeher meine heimliche Leidenschaft. Ein richtiger Jazzer werd ich wohl nie werden, aber ich bemühe mich etwas davon in meinem Spiel unterzubringen.
Oh no, I've melted your fuse 😱😊 I'm sorry, I caused this. I hope you're head stopped smoking by now. Kidding aside, it's ok not to understand everything immideatly. We often comprehend things a lot later under different circumstances. Suddenly everything clears up. It will happen. Trust me!
@@GuitarversumSandraSherman You are allowed to burn fuses sometimes Sandra :) I learnt so musc from you. What I really meant is that "hands-on" approach works better for me. A bit of theory, a bit of strumming. I bet I'm not the only one. Keep up the good work neighbor!
Wanted to learn jazz, but being an absolute beginner I don't really know where to start from....!!!! Could you start a step by step course on it, Please......🤗
Hi love your videos although i play ukulele so i have to fiddle about a bit to get the chords you use , i wonder in the future you could do Baubles Bangles and Beads in a Bossa Nova style ? Kind Regards Dave
Hey Sandra, Just wondering why the label has to be Cb instead of automatically defaulting to B. I get the descending direction thing but it just seems a bit redundant, don't you think? 🙂 Hope you're keeping safe. 😎 J.
Ab Melodic Minor has a b3, and that's called a Cb (because the major third would be the C). While the G altered scale has a major 3rd and that's the B. I thought, if I kept naming the Cb a B in the mel min scale, people would bash me for it being incorrect 😊.
Hi Emerald, The RU-vid comment section isn't the right place for this. Your comment gets lost in hundreds of comments. I have an email address and a help page on my website guitarversum.com/shop. Please write me your issue and I'm sure we'll find a solution. Btw, it's best to download your stuff on a desktop, unless you know where the zip file on your iphone goes (it seems you don't).
@@GuitarversumSandraSherman Yes you are right and Please accept my apology. My tech skills are limited and I have located the file. I have learned how to now and I will use a desktop next time. Thank you for this file and your tuition is very good. I will use your mail address if I have a question in the future. Thank you Sandra.
We often don't understand immediately. But when we dig into other jazz theory, suddenly something we didn't understand before, now starts making sense. Different views on the same subject also help. Hang in there. The fog will clear up 😊
@@GuitarversumSandraSherman thank you for the reply, I have been working on this today and finally absorbed the fact that this scale is built on the 7th degree of the melodic minor scale. Making it the super locrian scale. It’s easier for me to think of it in this way, as an example an E super Locrian scale makes more sense than playing an F melodic minor scale over an E7 sharp 9 chord. This scale contains both the sharp 9 and flat 9. Not sure how to deal with the seemingly out of place flat 4. But it sounds great over a dominant chord, with similarities to a diminished scale. Half step, whole step.
You probably have to check out how intervals work and how chords are built in general. This is an advanced jazz tutorial, assuming you already know the basics.
