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Adam thank you so much! This is a revelation. You decrypted the functional beauty of the diminished scale for me. What a gem this video is! What a treasure trove your channel is. Many thanks and love to you guys :)
Definite missing gem with this one. Thankful for social content platforms and amazing teachers like this to help fast track debunking unsolved music mysteries. For veteran cats like me these fresh simple perspectives glue together years of fragmented and missing puzzle pieces. Thank you sir.
For someone like me who no longer plays jazz in a live setting but continues to listen and learn, this has been MIND BLOWING!!!🤯🤯 This is truly a jazz improv/theory gem! I’m getting out my 🎺 and getting back in the game with your channel for real!
1. Choose a dom. chord 2. Travel a tritone and find a minor chord inv. from the 4 diminished chords of the chord in step 1. 3. Play a musical pattern with the 6 chord tones. 4. Resolve to a tonic chord a fourth below your dom. Chord from step 1. 5. Thanks Adam.
This is by far the best vid/tutorial I've seen on the diminished scales. You opened up the secret of applying them effectively. Much appreciated. Thank you.
As a guitarist, I had this scale under my fingers, but the way I used it sounded so contrived and obvious, like the whole tone scale. Thanks for opening these doors.
1:13 that shift to the up close shot with the 100% REAL dialog is where its at. I would love to see more cuts like this where you and peter are being 100 with us. LOVE THIS!
I love how easily you break down the content vs. the function. Showing practical examples of how soloists think is crucial for student development especially if they have an ear for sound already
"Melt faces like Brecker" Well put. I heard Michael quite a bit, but one of the astonishing performances was with Elvin Jone's band at BlueNote. He's standing in Coltrane's shoes and not holding back, just absolutely going for it. Then joined by George Garzone, who was in a more tonal frame of mind that night, but still strategically outside. Antoine Roney, several others on stage. That should have been an album. Also heard Michael at front row of several "Tenor Summit" concerts at Birdland. Brecker, Liebman, Lovano in one of the incarnations. Liebman was inside the spirit of the piece, but Brecker was the most delicate voice. It was enlightening to see the thought behind every note. And he was always a gracious spirit. I've talked to Michael at his gigs, and he was always humble, and very self-effacing. But as Elvin said, "An absolute virtuoso." He had impact on how I think about music and where it comes from.
Aside from the great lesson, the "writing", i.e. the light comic tone, is beautiful. Now I gotta practice this stuff! Keep my home town safe for jazz, guys.
I learned the diminished scale and used it a lot over the years but… I never really studied the magic of it’s chordal content… that’s what makes this video fantastic! Thank you for this wonderful lesson!
I'm a guitarist and this really opened up a whole new way of looking at diminished scales. We tend to be "patterny" as guitarists. I never "saw" those 4 major and minor triads.
An interesting approach.Always like your videos. Another method is to not even think about the diminished scale at all and to just see it as (in this case) an F7 dominant scale with the scale degrees 1-b2-b3-3 #4-5-6-b7-8 . This way one can see how close it is to a blues type approach with a couple tweaks. A little off topic. I see many books talk about two diminished scales (1/2 step whole step or whole step 1/2 step) and it always seemed to me that it was easier to think of it as one scale starting on a different degree.
You can justify the 2 notes of the diminuished scale which are not in blues scale (b2 and 6) just by considering 2blues pairs at the distance of a minor 3rd (i.e. A + C blues scales). Then you'll have your complete A or C diminuished scale
@@tetraqartet6798 The 6 is part of many blues like 1-3-5-6-b7-6-5-3 . The b2 can be used in a displaced minor blues lick like this: 5-b7-8-b9(b2)-8-b7-5
Ah yes thank you! (I'm just starting to pick out the diminished chords and scales on the fretboard, i really like your way of thinking in terms of these little dominant cadences! Nice way to break it up and not, as you say, clinically climb up and down!)
As a country player that learned theory the hard way while playing and still building lots of finer details of theory, understanding how jazz theory is utilized is amazing for playing. I can't stand talk about dominants and substitutions and so on, I just want to know how to use intervals well and how those face melting bebop solos actually work over scales while sounding like they're being completely random.
Couldn't play along because its too early. Will do a little later today. I don't usually play exercises like these, but this seems like a good way to get these under my hands. I least I could follow it conceptually and by ear. Thanks!
Bartok axis theory maybe i think that is the man who wrote it down as it. And yes Mendelssohn, Chopin, Liszt and many others romantic composers played a lot with augmented or neapolitan 6 and diminished or minor cadences over major. Yeah Barry ruled down for citizens 😂
If you start the scale on C, C#,Eb, E etc. it appears very symmetrical on the keys. If you visualize the notes it's like a "M" shape followed by a "W" shape Each shape has 2 white keys and 2 black keys. Handy for non piano players (me) to play around with this scale and not get lost and play wrong notes. I think I stumbled across the triads hidden within at some point (noodling on a clavinet) but had no idea what to do with the discovery 😅
That’s one of the other (of the 3) diminished scales. The one Adam used in this video scrunches (technical , ha!) around the F, and the other one scrunches around the B. Fun to “see” these different shapes and how the visual and musical proportionalities work out. 🎹😊
Dissonants, Extensions, Alternates OH! MY! Coltrane and Jimmy Page's Radioactive Solo, Tears for Fears Rule the World Solo... This is the STUFF right here. and the Term Melting Faces, I thought I was the only weird one saying such as that. Going from charting some 70 70's and 80's rock tunes into notes for myself in a matter of 3 weeks in 2009, which was a whole lot of major 6ths and 5th Pentatonics (Blues with and without Diminished 5ths), and then 5 years later working on 90's and 00's Rock it was so refreshing to run into sus2/9 (diminished 2nds) that were not mere passing tones. But chordal to the structure of the tunes. Stone Temple, Pilots Foo Fighters.... That explains the inherent darkness or emotional lethargy in the progressions and thus the tunes over all. But it was fun working with.
I'm glad you dislike the half-step/whole-step whole-step/half-step thing, too, Adam. It's one of those things that is staggeringly unhelpful in practical terms.
So, as someone who is completely new to this scale, do you guys agree with this approach to learning it? Edit: I went through this again with more focus and it's amazing. It demystifies "that sound" I've always wondered about. Man! I wish I was younger. :)
This is great. Fantastic content. Please continue. Now the V sounds modern. What about the II and the I in II-V-I ? What can I do that they sound modern, too?
The 2 chord you can make dominant, and use all the dominant scales for that, and for the Major 1 chord, you can play lydian or lydian augmented. For Lydian augmented, you play the melodic minor scale a minor third down, so if you have a C Major 7 chord, you play the A Melodic minor scale. It gives you the #5.
I think Barry Harris talked about this, and he said play the II chord as if it were the V chord (they are very close anyway), and then play the V chord as if it were the tritone substitute. So, for example, in the context of Cm to F7 to Bbmaj7, play the Cm as if it were an F7, then play the F7 as if it were B7. In my opinion, you don't need an altered tone against the I major (in this case, Bbmaj7.) Just make it pretty; the general aim is to release the tension when you get to the I chord.
Dope 🔥 video Adam! Thank you very much! BTW is it possible to make a deep dive into that Chick Corea face melt run his doing at the beginning of this video?
