Scaling The Summit With Dominant Scales
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- Опубліковано 2 чер 2024
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Practice Exercises: 12tonevideos.blogspot.com/2016...
Chord Scales Video: • A Scale For Every Chord
Tensions Video: • Tensions: Somewhere Ov...
Non-Harmonic Tones Video: • Escapes, Neighbors, an...
Modes Video: • Modes
Harmonic Minor (And Melodic Minor) Video: • All About Minor
Altered (and Blues) Video: • More Scales!
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as a practical tidbit, if you want the altered sound over a 7 chord just play the melodic minor scale up a half step from the root.
I thought you were going to talk about "Scale the summit", the band. Anyway, great video as always :)
Thanks!
THought so too...
whole tone works too
Huh, looking back I'm honestly surprised we didn't mention that one. Must've slipped through the cracks. Thanks for pointing it out!
Nice video, but while the melodic minor scale is notated correctly I'm afraid the demonstration of it on the piano sound like harmonic minor.
+Jonas Bjordal ...Whoops. You're right, I must've messed up and used the wrong audio clip when I was editing. Sorry! Checking again, it does seem like the Aeolian Dominant is correct, but still, that's embarrassing. I'll add an annotation to let people know. Thanks for pointing it out!
Explained nicely, I'm glad you went into the connection with different scale modes. Most people don't notice the connection.
+Audio Anomaly Thanks! Yeah, I think the modal relationship is really important, since it helps you figure out which contexts you might want to use a given scale in. Of course, there's some that you can't really think of as modes, like Lydian Dominant, but where the relationship exists I think it's pretty useful to recognize. Maybe we should do a video on the modes of harmonic and melodic minor at some point... I'll add it to the list!
It's known as the auxiliary diminished and it's a fav of boppers
Look according to Wayne Shorter compositions and Kenny Wheeler compositions and my compositions for 40yrs melodic minor ascending and it's modes are truly the shit or the modern jazz gold mine. You get from the 7th degree dim wholetone or the alt scale i.e. every alteration of a functional dominant chord. you get from it's 4th degree Lydian b7 the tritone substitution scale. You get the super hip freebee defining the location of the 1/2 steps from it's 3rd degree i.e. maj7#5. Check out Iris. You get Coletrane's chord susb9 2nd degree. You get from it's 6th degree that Bill Evans ø9 where in a Øchord you play the 9th a whole step away instead of diatonic locrian. So all the most useful chromatic alterations are found in a natural sounding scale without that minor3rd skip so that scale can be saved for truly Polytonal sounds like D/Eb or Fmaj7#5/Bb.
1:13 I use that mode a lot in my composition - except it's like a major scale the way up and b7b6 the way down. I like to call it melodic major for that reason.
Interesting, I haven't seen that before! Thanks for sharing!
1:25 I want to respond to this part right here- maybe I'm misinterpreting what you are saying but I would actually say melodic minor actually is super important when it comes to playing over dominant chords, even more so than harmonic minor, because of the melodic minor modes -- some of the other scales you mention in this video are melodic minor modes, including the Lydian dominant and altered scale. Especially in the context of jazz and improvised music, I spend a lot more time studying the melodic minor scale and their modes and how to use them over the dominant!
Also 3:30 - here you play a minor blues scale and I would say that a major blues scale (1 2 b3 3 5 6) would likely work just as well or maybe even better over a dominant chord because it has the lowered three (the blue note) and also the natural three that is already contained in the dominant chord.
Also!! The bebop scale (there are many variants but the one I am talking about is 1 2 3 4 5 6 b7 7) is amazing for playing over dominant chords bc it is octatonic and therefore symmetrical, so what this means is when you play the bebop scale starting on the tonic on the downbeat and play up and down the scale where each scale degree gets an 8th note, this magical thing happens where you will land on a chord tone on each strong beat, which makes it a lot more comfortable to solo with in certain contexts.
(PS I am a huge fan thank you for all the work you do- I am coming from a mostly jazz & improvised music perspective so this certainly may not be true for every musician or piece of music! Anyone feel free to correct me if I am wrong or misinformed about anything)
Edit: in a previous comment I just saw that you say you don't really think of Lydian dominant as a mode even though it's important to note the relationship to melodic minor- would be curious to hear more on why you feel this way!
10 thumbs up
That’s really interesting about the scale you call “major blues” here. I’d never seen that spelled out before but it makes a lot of sense - it’s basically a mode of the blues scale, just starting the pattern from where pentatonic major is located. Very cool!
Also it’s interesting to note that “major blues” (as described here) is different from the scale known as “blues major,” which is the 5th mode of the pentatonic scale if you consider pentatonic minor the first mode - meaning it’s spelled 1, 2, 4, 5, 6 and doesn’t work very well as a dominant scale.
OH - and to your point about the bebop (a.k.a. bebop dominant) scale working, the bebop dorian (a.k.a. bebop minor) scale can also work well over dominant chords since it has the presence of both a b3 and a 3.
wow, this is such good quality stuff! Very good
+tomerzx Thanks!
Phrygian dominant is so cool
Altered aka the "but why?!"-scale
There's other dominant scales:
Phry b4
Mix b2
Lyd #6
Lyd #6#2
Lyd dom b2
Hungarian major (lyd dom #2)
Ionian #6
Thanks! These video's are really great. Would you consider analyzing 'Goodbye Pork Pie Hat' by Charles Mingus? It sounds like blues while the chords don't look (to me) anything like blues. Also, the root movement looks very random while it sounds very coherent.
Thanks, and thanks for the suggestion! At this point, though, we receive so many song requests that we can really only focus on the ones from our Patreon patrons. We just don't have the time to look at every song that comes in, unfortunately. There's a link to our Patreon in the video description if you're interested, though!
No problem! I just signed up at Patreon.
Just signed up and thanks again!
Zombie thread, but... Monk used the whole tone scale over dominants, as well, which gives shell voicing with no perfect 5th but a natural 9th (or 2nd).
Where can I get the exercises?
I've been curious, what kind of music theory have you studied that you call them flat chords instead of minor? (at least if I'm following these lessons correctly)
Hmm... I think you may have misunderstood: When I talk about "flat" chords, that's a description of the location of their root. So, for instance, in natural minor, the third degree is lowered, so the chord built off it is the bIII chord. If I were to just call it the III chord, that would imply it was built off the major third degree, which the scale doesn't have. (At least, it would to me. Some classical theorists view that approach as unnecessary and just call it the III chord assuming you'll know that the 3rd degree in this scale is minor, but I don't like that system.) It doesn't have any bearing on the chord's quality though. It's just a description of the location.
Oh, so the other scale degrees stay in the same relative position to the root? I's still a major chord, but on the minor degree?
When I first read this response, for some reason I thought this would make a bIII a m3 on top of a 4th
I'm still a beginner, so I tend to use set theory, which makes it easy to just count my way through chords. Unfortunately, the way it's built causes some overlap in thinking when i try to swich back to notation, so bIII sounded like "exchanging a minor key in a major mode"
ok so im a complete beginner with no lessons on these things, and im so lost on what all these words mean 😂😂 do you have a video to explain what “modes” and “seconds” and “sevenths” mean? Thanks
We do! We actually have a whole playlist of music theory ideas starting from the very beginning: ua-cam.com/video/xTOOWe_yLwY/v-deo.html
how did you find the notes for the 5th mode for harmonic minor?
R5G Take the construction of a standard harmonic minor scale (1, 2, b3, 4, 5, b6, 7), start from the 5th degree, relabel it the 1st degree and go from there, and make sure not to alter any of the distances between any of the other notes in the scale. So keeping the pattern intact you wind up with 1, b2, 3, 4, 5, b6, b7 - also known as the phrygian dominant, phrygian #3, Spanish gypsy or Jewish scale.
Here’s a line-by-line comparison:
(W = whole step, H = half step, A = augmented second, or whole+half step)
5(H)b6(A)7(H)1(W)2(H)b3(W)4(W)[5]
1(H)b2(A)3(H)4(W)5(H)b6(W)b7(W)[1]
So basically, like with any group of modes, all you’re doing is shifting your center of gravity (your root). Hope this helps visualize it.
Where is the Exercise?
Thank you. The link in the video was broken.
Mixolydian b2, phrygian b4
Ooh, Phrygian b4 sounds interesting! Like altered, but with a natural 5th. Neat!
12tone For improvisation one may find phrygian b4 (the third mode of harmonic major) useful as alt. nat 5.