Very nice! One quick "hack" that had me thinking of this without having to manually count a whole tone from each individual chordal tone is: - maj7 = add the next major chord a whole step up (Cmaj7 + Dmaj) - min7 = add the next minor chord a whole step up (Cm7 + Dm) - dom7 = add the next major chord a whole step up (C7 + Dmaj)
Very accurate so far..I like to this with whole half.dim scales and half whole dim scales...just do the same basic dim7 chords and move them up a 1/2 or 1 step. Eg. C Eb Gb A up 1 step D F Ab B.. The scales for C dim7 for the whole half ..is C D Eb F Gb Ab A B C.
Man that really helps while improvising! Much easier than thinking „individual note + whole step“. With your way I can let the music flow like it should, thank you very much!
Jazz Tutorial Hello Julian, your tutorial is great and i'm trying to learn from it. I have a question? How do i implement the scale if i want to play a song?
Hey Julian ! You’re the best jazz piano teacher ! You never drag the story or lie and waste time ! Everything you say is so clear and so understandable ! And unique ! Thank you very much !
Yea great vid. I play jazz flute. If I am going to do a popular number like Wave with the band and I know there is an ad-lib i dont just get on stage and play spurious notes in the scale or whatever. I take each chord....and plan my ad - lib with primarily the notes in the chord adding a few interesting sounds. Many years ago I saw Stan Getz in concert playing Wave. I then got his sheet music and saw that EVERY note he played was planned and scored. He did not ad-lib once and I'll bet the audience thought Wow what great improvisation. It wasnt. Thank buddy.
+Steve Kp It's y'all, i.e. you all. Not yo, as in hello. That would sound silly, wouldn't it? Going up to someone and saying "Hey, yo", when actually you mean "Hey, y'all". You're welcome.
@@dawncordo It depends. Classical music in a traditional meaning in similar in all of the Europe. It grounds on two scales: major (durowa) and minor (molowa). Polish folk music uses scales, who aren't very different to the western folk music scales (I think): dorian (dorycka), phrygian (frygijska), lydian (lidyjska) and mixolydian (miksolidyjska) with it's hypo- types. The oldest polish folksongs use narrow-ranged scales: tetrachord scales and two sorts of pentatonic. The newer songs are based on minor and major. The lydian-dominant (góralska) scale is special because it is used only in Tatra mountains. It was an inspiration for some composers of the twenteenth centaury, for example Karol Szymanowski or Wojciech Kilar. If I made a mistake, please true up.
Thank you so much Shouzeegestof. I have some more videos on scales planned. In the meantime you might like this blog post I wrote on memorizing scales too: www.themusicalear.com/how-to-learn-new-scales-quickly-easily/
Every now and again you find a piece of information or a concept that is like a lightbulb moment that you know will change you as a musician forever. For me this was one of those times, thank you
Yeah there aren’t many. Most lie and will make out like it’s this big mystery with no particular formula whereby the only way you can achieve it is to summon the jazz gods with your hidden talent. Eg your typical ass hole musician. That or they just have no clue how to teach correctly.
At 2:05. That melody in Dorian was first used by an all girl group, The Charmels, in 1967 (created by Isaac Hayes and David Porter) Then it was featured in the song C.R.E.A.M. by the rap-hip-hop group Wu-Tang Clan in 1993. Which made it popular.
I must have watched this very early on learning to play as I only gave a like. Coming back after 6000+ hours of practice since April 2020, this makes SO much sense! Thank you. I have a dedicated folder just for your tutorials. You really are one of the best. I've come to realise that most internet music teachers don't tell the full truth unless you get behind their paywall. You give sound advice that makes a difference instantly. Very much appreciated. Thank you Julian. ❤
Great lesson Julian - as a guitarist it's so good to be able to see how the scales relate to the chords - not so easy with the guitar fretboard. Thanks.
There are no shortcuts in learning jazz. Years of listening, transcribing, and building a vocabulary for jazz language is the only way to get to the level that you desire.
as some one who has little to no theory knowledge this has been hands down the best video ive ever seen explaining jazz scales. so helpful, i am so appreciative.
The only issue I have is your theory does't take into account the context of the chord. Certainly you'd want to play a different scale over Cmaj7 if it's I or IV. Or maybe it's functioning in some modal minor context? These things should also be considered, right?
yeah I thought the same...not to mention the lydian dominant scale is generally only used over non-resolving dominants from what I understand....so can't play it over a V7, where you are most likely to see a dominant.
Luke Banchy I usually play a mixolydian over a five .. but it totally depends on the chord and the melody.. I'm still learning myself...there is so much to learn.
An easier approach would be to play the notes of the key signature unless a chord tone of the chord tells you to play something else. As a jumping off point, I mean.
That is a good point.. If you are reading autumn leaves which is a fantastic masterpiece of the modes etc.thats a good example. Both ways are valid. Of course you would usually go to a straight mixolydianI just did a video on Georgia on my mind. In the middle of the video ( i didnt cut it out, as I think its a good learning processs.. I said it probably just calls for the a7b9 here and I had put an a7 ). So not wanting to get it wrong but ; I just went to the net and found out it did call for the a7 in the verse. I got my keyboard out and made sure I had not made any other mistakes..as I was playing it I found the chorus that had an a7b9 in it.. My ear was hearing it, but I was mixing the two.. I guess it is also a taste thing. Jazz is not my forte.
I tried it on 'All The Things You Are'. Unless I've missed something, it doesn't seem to work at all. It doesn't make a whole lot of sense to play F dorian over the first F minor chord when you're immediately going to Bb minor after that, especially considering the fact that the aeolian sixth degree of the scale (Db in F minor) is the note in the melody over the following Bb minor. It's all kinds of wrong. This strikes me as a bit of a quack, cure-all remedy that in no way can replace traditional harmonic analysis for choosing scales, or even just playing by ear.
Spent a few days thinking about this technique and working it out on paper. It led me to revisiting Scale mode theory which I finally have down good enough to explain it to others in case anyone ever ask! Found a Funk backing track in E minor over at Coffee Break Grooves and played over it by ear writing down what sounded good to me. Took the E minor chord and applied the whole note above the triad notes and it fit what my ear told me was correct. Turned out E Dorian was the name of what my ear told me was right. Really a fun practical exercise with long term benefits. Playing by ear is a good thing but, combining it with the ability to put names on what to play is a higher level of musicianship. Practically speaking, when I get good at this, I won't have to fumble around for 4 to 8 bars to find the groove. This was a crossroad between theory and my ear.
Great Job! CMaj7: C E G B ，all whole step up，we get D、F#、 A and C#，we have a C# whitch you did not mention on Maj7 Chord。 In years of practicing on Guitar，I Find D Ionian（1# 2 3 4# 5 6 7 on C）also works on CMaj7，at least it works on guitar。
He didn't say that LOL He said to apply the "whole step method" to only the 1-3 and 5th intervals/notes of the 7th chords, not the 7th's. There was no mention of CHROMATIC movement using "c sharp" notes on Major 7th chords.. . It would sound horrific using a flat 9th on major 7 chords because major chords have to sound HAPPY not sad! However, jazz musicians religiously use flat 9th's on dominant 7th chords to alter them with flat 13 or raised 11th's or just a basic flat 9th "three-note voicings" using TRIADS 😂😂😂😂 Using the "Triad method" is way FASTER & EASIER to teach music students "jazz chords" or "black music chords" (such as: Gospel, R&B, Soul, Funk, Blues) instead of this whole step approach 😇🖤😈🎹🎵🎵🎵🎵
Thank-you so much Junior for teaching me this method!!Today you have finally ended so many years of confusion about this and have simplified the process!!I feel like you have given me the keys to the Kingdom!!One of the best jazz secrets piano videos that I've ever come across...worth its weight in GOLD!! Thanx for ending so many years of confusion that I have had about which scales to play over which jazz chords!! I feel like an enlightened Yogi who has just had one of those AH-HA moments!! So thank-you master!!! My years of confusion have finally come to an end!!!I can't thank-you enough!!
What a great tip. Thank you. One quick way to remember the 9 11 13 triad is to think of it as a chord on top of the original four tone chord: D/Cmaj7, Dm/Cm7, D/C7 and D°/Cm7b5
Torkil Zachariassen Using the slash chords as way to see this very good.. I like to write things out as I go..eh your tip.. cegbb d f# a. . I write things out in detail so I can remember this and it may help the beginners.
Yup ive always been a supporter of slash chords or poly chords to quickly learn exotic chords. I used use the same technique to learn 13 chords when i first started playing jazz. Id write Gm/Ab (Ab D G Bb) and the guitarist would say but thats not Bb13. Well if the bass is playing the root it is LOL. Another one again if bassist is playing root...Em7/Ab is Bb13b9
Very captive and super clear. Allow me add a little comment, "dominant lydian" or "mixolydean #11" is also widely used in Brazilian folk music from the North East of Brazil.
Thank you for these videos. I got my degree in classical bass trombone performance, and I always played in big bands, but my teachers didn’t take my requests to learn jazz seriously. As a 46 year old who’s now learning on my own, I understand a lot about theory, so the chords aren’t necessarily a mystery, but feeling confident with my scale choices has been a real hang up. You’ve given me an incredibly useful tool. ❤️
Just some thoughts and hacks. When I am playing C blues I have a tendency to go down a minor third to a blues and play it over the C7 And G7. This is what Lestor Flatt did when he played the the G run G A Bb B D E. Put the E on the front note and you can see the E blues scale over the G. E G Bb B D E..So if I'm playing G blues..I'll often switch to the E blues.On the four chord of C blues progression which is F7 dominant, I often will play C blues scale.From the F7 the C blues scale C D Eb G Bb is 5 13(6) 9(2) 11(4). There is a lot of flavor on the F chord.
Could never remember these sophisticated-sounding scales before bumping into your ‘whole step technique’. Finally had a useful reference whenever I get lost on the keyboard. Can’t thank you enough for the best explained video on this subject, Julian!
I'm so pleased to hear this BATTIS94 - I know that this is a common question people have, because I hear it a lot. I should say that you always have a choice of scales you can play - there's never just one - but this method ALWAYS sounds good, especially if you don't have a specific plan or scale in mind. Do you have any other video requests?
Thank you for the reply. I'm new to jazz and this kind of improvisation. I'm a music theory oriented kind of guy so I usually need to make an analysis beforehand if I want to play something interesting. So this technique is amazing to come up with something fresh on the spot! Regarding your question, since I'm subbed I'm constantly blown away by you videos, I'm learning things I didn't thought I could learn hahaha and I'm still going through your older videos, so I have nothing to request yet.
Arr that makes my day. Glad you like the videos. I don't know if you're already part of the Jazz Tutorial email newsletter, but I send out additional tips like this every week - most of which I haven't made videos on. The sign up link is at: www.themusicalear.com/jazz-piano-email-tips
@@jazztutorial This helps guitar, bass, violin...any instrumentist really. A lot of guitarists have a hard time understanding modes. Seeing it laid out on piano from left to right makes it really easy to understand. Ill be pointing my students to your video in the future and using it to help explain modes during lessons. Good one man!
If I'm not wrong. to make it easier, if the triad you're playing is a major( regardless if it's a 7 Or M7), then "ADD AND" play "major triad" whole step above , if the first triad you're playing is a minor (e.g. Cm7) then ADD AND play a "minor triad" a whole step above .
THANK YOU! from a classical pianist that always greatly admired jazz and its musicians ..you are,, frankly ...artists and geniuses!! more THAN Many classical pianists are...!!
Hi Julian: This is really an excellent video and gives lots to practice on. You indicated that you use this method perhaps 70% of the time. Can you, at some point, share what you do, and your thoughts the other 30% of the time? Perhaps a separate video or two delving into your detailed thought processes as you improvise from chord to chord. Say, for example, you know a piece extremely well and you feel like stretching your improv wings. What thoughts flash through your mind (they must really flash when doing this on the fly) and alternatives do you consider as variations to this 70% (already great) approach?
David Maher The spirit of jazz is improvisation, there is a chance in that other 30% he probably uses what sounds good to him and he decides to not plan everything and just tell a story putting a group of notes together. Would be great to read/view to his answer. Great video.
The remaining 30% will be the list at the back of the book as he stated at the start of the video, i guess. Having a easy shortcut for 70% to kickstart playing is fantasic enough already.
Hey David, great question. So sometimes I'll play the blues scale over minor 7 chords. So over Cm7 I'll sometimes play C Eb F Gb G Bb (which isn't derived from this chordal tone + whole-step method). And other times, I'll change things up over V7 chords - since V7 chords are the best place usually to use exotic scales. So over C7 I'll often play the altered scale (C Db Eb E Gb Ab Bb)... ...and occasionally I'll play the diminished scale, or whole-tone scale. A good tutorial to see me talk about these other scales is my 'Exotic V7 scales' video here: ua-cam.com/video/K9JGgjQG-Uw/v-deo.html Does this make sense? Let me know if this helps.
In my youth I was a classic piano-player (also Baroque on harpsichord) with a secret passion for jazz. During the years I've lost touch with music-playing but now, I would like to revive my connection. I started with J. S. Bach which is good for the memory (not so good lately...) and searched my way to fulfill this old secret passion of mine. I found (by chance) the answer here in your excellent jazz tutorial. Thank so much for your fine uploads.
you forgot method man sucking spit back into his mouth in the lyrics.... so it would be " CREAM, get the money,* method man sucking spit back into his mouth* Dolla Dolla Bill Y'all."
Taking these examples and applying it to the guitar has opened up a world I can now freely step in and out of. Very much appreciate the lesson. Thanks for your time!!
when i was 13y old i was learning the piano with this teacher and it was so confusing and suddenly realizeed that you just add whole step on any notes in any chords, just like in this video
Ik I was seriously just realizing that there's much different ways of explaining the same thing. And some people just have a much easier time understanding certain ways than others. Like more technical learner's probably understand intervals and scales easier where as a visual/hands on experimental learner like myself has a much easier time visualizing it as chordal tones and just adding a step to each
What holds me back every time I learn a new jazz "thing" (I'm just a beginner to this) is that it always looks terrible for me in the begining (like the start of this video) but when you put it together you create beautiful music.
I'm new to jazz and always don't know how to practice. I'm a classical pianist, start learning jazz from last year, and still didn't know how to learn for piano part! But this video seems can help me, I will keep watch ur video, hope can find a way to help myself. Thank you for your video!!!
Thanks, Julian. It's so cool method you've shared! I really like it. During the watching, I came up with an idea, that I can get the same result (get a scale) by adding the same triad like in initial chord from the 2nd note ( f.e. if you have C7 initial chord, then add D triad; once you have Fm7 then add Gm triad; if dim - then dim, etc. I think you know it, but maybe it will be helpful for someone :)
Very helpful! thanks man! From your video I noticed that you can build II chord with the same value of the tonal chord, and both of them will give you all the notes of the scale you're looking for. for example: In C lydian scale, the first chord is Cmaj (root - major), the next is D (II - major) In C dorian scale, the first chord is Cm7 (root - minor), the next is D (II - minor) and so on. I think it's even easier way to remember it in real time.
The Lydian Dominant scale is also very common on north-eastern brazilian folk music. Kinda specific and not very widespread, but definitely worth it checking genres such as forró, xote, baião, etc :) Awesome vid! Love the tips, I'll certainly put it to use
I used to think that could just play the scale of the root note and that it would fit with all the chords I'm playing because they're all in the same key, but this will definitely be fun to try
Guitar and Piano are very helpful for teaching each other. They are both “chordal” instruments, where we can play these big lush chords, and also both instruments are very pattern based
i've been confused for years, then suddenly i clicked the link to this video. AND MY SUFFERING HAS GONE FOREVER!!! Thank you so much. this is the best video i've watch on youtube in my whole life so far :')) best regard, church pianist from Indonesia...
This was mega-helpfull! I was getting bored jamming over Major and Minor scales, but I had no idea where to start with giving my music a more "jazzier" feel. Thanks alot!
I play music mostly by ear on bass or guitar. I began picking up keyboard and music theory about two years ago. Music theory to me seems very much like math and math puzzles and lots of memorization of formulas. I now find myself creating music much like a person solves a rubik's cube. You learn patterns to start the puzzle, different patterns automatically click in, and then there are final patterns that solve the cube. But when it comes time to lay guitar and bass tracks all the patterning goes out the window because it gets in my way. It's like mind clutter to my guitar ears. I usually end up laying tracks by ear or chopping up the audio wave and composing note by note and sound by sound. My question for you and all the music theory people reading this is, Do you ever just sit there and play or record without thinking solely by what you feel or is everything you compose intricately worked out in advance according to theory/rules and with no chaos?
Ken D. Webber hmmm...it's true that music theory can be sometimes confusing like math...but on the other side if you want to be a composer you have learn music because it's still important : -It's allow you to avoid mistakes on your composition -it's help you to communicate easily with other guitar player - and it's help everyone to study musical piece that they like and playing them ect....
I like your second point. Your first point is where I'm getting at. You call it a mistake and yet those "mistakes" are frequently what catches people's attention and sells albums from Slayer to Nirvana. They make the music interesting because they take the ear where educated jazz musicians would never go and the music ends up sounding fresh. There are no mistakes in music. There are only journey's and paths that you either take or do not take.
Ken D. Webber Yeaaah i think you're right about it sometimes it doesn't hurt to get out of the box obviously and experimenting new stuff that nobody has ever tried...i'm okay with that but i m just saying it's better to know the rules first and then break them.
It's about being able to visualize the notes and their sounds and understanding their relationship to eachother at the same (knowing how all the notes you're playing relate to the underlying chord). With practice it becomes second nature and you can freely express yourself. Its completely visual, thats why you have immediate access to any sound you want to create. Dont waste your time with filling out theory books because if you cant visualize it on the neck its useless. It's a super long process that definitely feels like brain clutter at first, but as you start to understand it, you start to be able to see the music on the neck the way that youve always wanted it to come out in your head. you'll find you can even play guitar in your head while still being aware of every note you're hearing and where it is on the neck
The best way I can describe it is that when one continues to play and listen, the rules become internalized, and many of the same patterns emerge naturally as you play. Sometimes you don’t have to think about it at all.
Cool concept. But, I have to disagree with you about the Lydian-Dominant scale not being found in other genres of music than jazz. It was used a lot by composers like Debussy from the Impressionist era. It was called the "Acoustic scale" or "Overtone scale".
Jazz players have this notion that things were invented in jazz, when in fact pretty much anything played in jazz was invented first in classical music...
Nice video, sir, thanks a lot! Just one question: Is there some similar technique to apply to diminished and augmented chords as well? It would be helpful!
Im going through the comments. Saw this comment of 3 years ago. You may know all of this I think that a similar pattern will work. Here is possibly an answer. I am doing this on the fly. Ok, the video suggests going up a whole step. So I would try a Whole Half Diminished scale and see of it fits. C D Eb F Gb Ab A B C. That is basically a combination of 2 full diminished seven chords. C Eb Gb A and D F Ab B C D Eb F Gb Ab A B C The second row is HW dim scale. Also..each one on the top is a minor 3rd ..or 1 and half steps up. On a guitar this would be 4 frets.
Julian, your tips are worth gold! Thank you so much for sharing, mate. I never comment on youtube videos, but I just had to log in to tell you that. All the best from Germany.
Arr that means a lot Peter - especially that you went to the hassle to log in just to post this (I know the feeling). Thank you for doing that, and I'm so pleased this video helped. Are you subscribed to my email tips? If not I've written loads just like this lesson - on reharm, improv, Tritone sub, etc.
This is a nice tip! I feel like in some places this doesn't work, for example when you played the Ab major (7:55) that chord sounded so resolved that the Lydian scale just adds unnecessary tension with the #4.
On ALL MAJOR CHORDS, you have a 1-3-5, right? Like C-E-G for C major triad chord, yeah?. ...Ok, play a B minor TRIAD over a C-G-C or C-G-B in the Bass. That turns any regular basic C major triad into a C major 7th chord. Now, Play a D major triad over C in the Bass to make it a C major 9 chord. See how easy that is!? 😂😂😂 Using the Triad method, you always learn faster! Also, for every minor or major triad you are using, learn how to use every INVERSION and/or Position possible on your keyboard or piano 👍👍Move that specific Triad up and down the entire Piano until you can play it with your eyes closed like Stevie Wonder would teach you in person LOL! The reason for that is so you MASTER how to MOVE around the keyboard during solos, or like, when you need to help the SINGER sing better, because LOCATION is everything when playing the piano! hahaha Here's some more Happy fun Tricks to use: On ALL MINOR Chords, play a major triad for the 3rd note, and a minor triad for the 5th note. So you put A-E-A or A-E-G in the BASS and play a C major triad for the A minor 7th chord. Play an E minor chord over A in the bass for the A minor 9 chord. Yup, it's that easy! You can also find tons of other amazing chords by using all the other minor and major chords, sus 4, sus 2 triads over any BASS NOTE in your left hand. In fact, you will become a Monster on the keyboard/piano way FASTER this way! You can also play a C minor triad of A in the Bass, or E major over A in the Bass to figure out how to use it for different music styles. Your ears will guide you and let you know which KEY you are suppose to use those special chords for, but that's the FUN in learning how to experiment with music. No strict Rules, just have FUN! Play whatever you think sounds good to YOU, not what sounds good to anyone else. On any "TURN AROUND" dominant 5th CHORD you use before going back to the "home chord", you can come down on it's MAJOR TRIAD it belongs to. For Example in the Key of G Major: Use a G major Triad with D-A-D in the Bass. Then, while still sustaining a D in the Bass, do lots of RUNS up and down the G Major scale. and then resolve to a G' chord or Gadd2 (Gadd9) chord, or a basic Gsus4 chord to the G chord to end the song. LOL Also with a G-D-G or G-D-F as the Bass notes, you can come down on a D major triad or an E major Triad to make it sound extremely MATURE, Beautiful and very Jazzy. That's a kool trick to know for Gospel and R&B music styles 💥🎹👀 The SECRET of playing really good, is learning ALL the user-friendly tricks. So, learning which Triads work for each ROOT note in the Bass is what you need to practice for hours and hours! ... Always ANALYZE what you're doing in the right hand. Ask yourself these questions: Am I playing a 7th chord, a minor 9th, a major 9th, a dominant 7th flat 9 or dominant 7th flat 13 chord??...or is this a regular dominant 13 chord?? What chord is this TRIAD creating? Why am I playing so much better now!? How did I get so good so fast!? YAY!! 😂😂😂🎵🎵 BEGINNER students learn FASTER when you explain things MUCH EASIER to them. They "get it" and understand it using TRIADS way quicker than any other method out there! 👍👍🔥🔥 Never forget...People get LOST when you use words like "semi-tones, whole steps and half steps, a tone, two tones, 3 whole step and a half..." etc etc The PIANO IS A VISUAL INSTRUMENT. Keyboard and Piano Students naturally see things FASTER when they think of Triads, not "mathematical equations" or complicated explanations as to WHY this note is a 6th and 13th, or a 4 and 11th note at the same damn time LOL! 😹 Cheers! Enjoy these amazing New Tricks and Short-cuts, My amazing Friend! Hahaha
i wish you travelled to spend months to the philippines to TEACH!! so many would go CRAZY wanting to BECOME jazz musicians!! and discover its great , rich. beauty...from a wonderful musician like you who makes it all so clear and reachable..wow!! ..it makes me want to go back to my piano here ...and study like a total beginner again...for the NEW wonderful world of JAZZ!! that i only appreciated as a mere listener but never confident enough even with my classical musiic knowledge ..- to try!! and i wish MORE people who love music could learn it the way you teach it.!
Thanks for sharing, that's simple and awesome. And it becomes even better: All of the modes are major scales. Lydian is the major scale of the 5th, so C Lydian is G Major. Likewise, Dorian is the major scale of a whole tone below, so C Dorian is B flat major. And even better, the scale for a major 7, say C, is the same as for the parallel minor 7, in this case A minor. It's both G major according to that rule. So you really only need to memorise all the major scales and apply them properly. The only thing to remember is the Lydian Dominant variant with the flat #7.
This was fantastic and exactly what I needed! Thanks Julian! Gonna use this over Strasbourg St.Denis! I never understood how to use modes as people including my lecturers never explained it to it fullest. It was only the scales but not how to apply it with what chords so until this very moment as I was typing I was in confusion but you've explained it so concise! Bless you Sir!!!! hahaha
I've learned a lot from Julian Bradley in a short time via his online school. Great teacher, very clear, great resource for anyone wanting to learn jazz piano.
Been playing 🎸 and 🎹 over 50 years. My memory is not fantastic. Y its not unusual to play thousands of.notes when improvising.. I do that jam tracks. Part of that is playing by ear..If you have played the blues of thousands of times in a lifetime..you just have down in your memory. As time goes on you learn a few scales..Learn how pick and grin while playing a little bluegrass. Then you read some books..I've got a fair amount of those.
I’m not sure if this has already been said (just found out it has) or is common practice in jazz but I just noticed that you can just mix the chord with the same chord 2 intervals up. Lemme explain. Since we only do the root 3rd and 5th we don’t have to look at the dominant 7 or major 7 etc. if you had a Cmin7 chord and need the scale you transpose the 1st 3rd and 5th notes 2 intervals up to make a Dmin chord. Mixing this Dmin with the Cmin7 makes the scale for improv. This works up almost everything. For C7 and Cmaj7 they both transpose to a D major chord and you just combine the two chords into one scale. With C minor it goes to D minor(7s and maj7s don’t affect the transposed chord so D minor would go with Cm7 or Cm maj7). C dim chord goes to D dim. C b5 chords would go with the respective D b5 chord etc. works with all chords 2 intervals up. for Example Ab maj7 combines with Bb major.
This is not always going to work frankly. Scales work in relation to a whole key, not one chord. Cannot play a dorian scale if that Bbm is the 3rd chord in a Gb scale, or the 6th in a Db scale. Good tip, but as you said in the beginning, you just showed us what to do, didn't actually explain it. Also you said you use these chords most of the time, which means there is still that time which you play different things, that we still don't know. In my experience, you just need to understand where the chord is in relation to the current key of the song. Meaning when you hear a minor 7 chord, you need to understand which minor 7 chord it is, is it the 2nd, 3rd, or 6th chord of the scale? it's all 1 major scale, starting from different points of the scale. You gotta listen to that scale, and work by that - the key\current key ( it can change a few times during a song) of the song.
...ALSO IF YOU'RE PLAYING BY YOURSELF - LIKE HE IS - HIS METHODS WORK - FOR WHAT HE WANTS TO PLAY... - HOWEVER - WHEN PLAYING WITH OTHERS - THIS METHOD MAY NOT WORK... - THIS IS WHY IT'S VERY IMPORTANT TO LISTEN TO - WHAT EVERYONE ELSE IS PLAYING - AND - EITHER AGREE TO DISAGREE -BC - THIS METHOD GOES AGAINST THE CHORD RELATION TO A SPECIFIC KEY - AND - STICK WITH TRADITION... - OR GO OUT ON A LIMB - AND - EVERYONE PLAYS - THE WRONG CHORDS - TO BRING A DIFFERENT COLOR TO THE CHORDS/SONGS... - AND - NOT PLAY THE SAME TRADITIONAL CHORDS/THING - ALL OF THE TIME - AND - APPEALING TO THE TRUE MUSICIANS WHO ARE LISTENING TO THE MUSIC - VIA CHORD STRUCTURE/VARIATIONS - TO ADD MORE FLAVOR TO A SONG... - CAN BE QUIET REFRESHING - SO HAVE ALL OF THE FUN - WITH MUSIC YOU CAN - IT'S WHAT GIVES US OUR OWN SOUND - AND - WHAT MAKES US PLAY IN THE FIRST PLACE... - SO EVERYONE - KEEP UP THE GOOD WORK - AND - NEVER FORGET WHY WE ARE MUSICIANS IN THE FIRST PLACE... - TO HAVE FUN - EXPRESSING OURSELVES MUSICALLY... - GOOD LUCK - AND - GOD BLESS...
@@mariostoumbas6531 thanks for the idea. I was looking for comments like this. because I was confused how I should be listening if say I have dominant chords, should I still think in the major scale that the dominant chord is in, making the dominant chord the 5th of the scale or should I think of the dominant as its own scale (1st), like how the minor scale is the 1st
@@mysticsailor9 I'll explain better... The title of this video is "end of your confusion" so.... (Check my youtube channel if you think i don't know what is a Whole Step / semitones ;) ). he tells "add a whole step to root third and fifth" at 1:20, yes he tells it, so where is the problem ? one small line on a 10mn tutorial video where he shows to understand the trick the 4 notes of a 7th major chord, not 3 ! you have on the screen "whole step technique" with C E G and B written under it ! It would be ok if he'll only tell and play "C -> D , E->F# , G->A, but he's playing the B and a C just after without explanation. (I was a piano/Jazz teacher). it can confuse any beginner who would apply the so called "whole step" technique. Put yourself in the seat of a complete beginner who just learned his scales and know what is a semitone and a whole step but nothing else. Telling it's only working on the Root, Third and Fifth must be written everywhere and not playing a B followed by a C on the video while explaining it, unless he explains why he played a semitone on the last note instead of a whole step !
nice :) though I still hate the names of the modes.. with a passion.. it sounds so pretentious and purposely obfuscating to say "C Lydian" instead of "G Maj with root C".. any beginner can play G Maj and start/end on C, but most beginners have no idea what Lydian is. those stupid mode names need to be taken behind the barn and never return.
This is most likely the most ignorant post about music I have ever read. Get some good reading or youtube about scales (modes) and you will forget what you just thought and wrote.
Thank you for explaining. It's really very easy to understand how use those scales. I'll watch all you video - it helps me in learning jazz. Very good, thank you for all)
I don't think I can adequately express what a counter productive video I think this is. It takes you on a useless tangent if you're trying to understand jazz harmony and which jazz scales are used in jazz. Just learn the modes of the major scale; e.g. a ii-V-I is played using the Dorian, Mixolydian, and Ionian modes.
Great for the casual player like me though. Been learning jazz for a few months now, can't read a shred of music but can quite fluently play chords. Haven't really delved into scales or improvising so this is a nice start for me.
Why name 3 different scales since they all contain the same notes? Why not just have one name to describe the one thing? Not trying to be a smart ass, genuinely curious.
I've been looking for JUST LIKE THIS TUTORIAL! The best chord lecture ever. This is first time to watch your video and to become huge fan of yours. Thx!
I love harmony, and I have a deep understanding of it. Let me clarify for anyone watching this video and implementing it's suggestions in the real world, this will ruin your music. When you play IN a key, (as 99% of the music you will ever hear is) you play notes that are contained within a scale, the first note of which is called the key you are 'in'. In the key of C major you would use a C major scale. In the C major scales there are these notes: C D E F G A B. If I build 3 note chords (triads) or 4 note chords (seventh chords) using only these notes (in a 'play one skip one' fashion) I get a pattern of major and minor (and diminished) chords. The pattern I get from triads is Major, Minor, Minor, Major, Major Minor, Diminished. The pattern I get from seventh chords is Maj7, Min7, Min7, Maj7, Dominant7, Min 7, Half diminished. (note there is more detail to the chord description {V's major becomes "dominant" because thats the name for a major chord with a b7th} {Diminished becomes "Half Diminished" because you get a bb7th in a fully diminished chord, and only a b7th in a half diminished chord} because 4 notes is more 'descriptive' than 3). The pattern I get from a 5 note (ninth) chord is Maj79, Min79, Min7b9, Maj79, Dominant79, Min79, Half dim b9 (even more detail! but notice that still there are two Maj79 chords and two Min79 chords that still have the same extensions) - lets continue. The pattern I get from a 6 note (eleventh) chord is Maj7911, Min7911, Min7b911, Maj79#11, Dominant7911, Min7911, Half dim b911 (note I only have one ambiguity now, chord II and chord VI of the series are still both labelled the same, they still have the same extensions). The pattern I get from a 7 note (thirteenth) chord is Maj791113, Min 791113, Min7b9 1113, Maj79#1113, Dominant791113, Min7911b13, Half dim b911b13. These are scales (or chords) of their own, even though they use the notes from the C major scale, they have their own unique sound, some are often employed in Jazz music, they are called MODES. Each of those 7 note chords has a name. 1 - Ionian 2 - Dorian 3 - Phyrgian 4 - Lydian 5 - Mixolydian 6 - Aeolian 7 - Locrian Back to our C major scale chords briefly: Cmaj, Dmin, Emin, Fmaj, Gmaj, Amin, Bdim Now, because we often very quickly develop a strong sense of the key we are in when listening to music, it can be very obvious and 'wrong' sounding, if someone matches the wrong mode with the wrong chord. For example if I played the chord Cmaj but played the 4th mode (C Lydian ) over it, it would sound strange in the context of the key - this is because of the series I wrote earlier showing that our ears would 'expect' to hear the notes C D E F G A B (Ionian) rather than C D E F# G A B. When I listen to music I can immediately pick out 'where' I am in the key/scale, the way that my brain has learnt to do this is by singing a 'scale' starting on the first strong note I hear in the piece and then working up or down from there to find a pool of 7 notes that work. At that point I don't know where the 'beginning' of my scale is, but I use the relationships between the notes (tones or semitones) or I find where feels like 'home' and then test it out by singing a nursery rhyme or some such famous piece of music that I know starts on the 1st note of a major scale (e.g. Twinkle Twinkle little star) to check if I've got it right. I have no need to do this consciously anymore because my ears have becomes so sensitive to key/scale relationships that as soon as I hear a piece of music (within I would say 2 - 3 seconds for 90% of the music I hear) I know which chord I'm on in the scale and then a couple of seconds after that I have worked out the note the melody is on. I don't imagine notes anymore, rather I hear the relationships between the notes (regardless of whether they are C D or E etc.). I DO NOT have perfect pitch and this is a skill I have developed from being a self taught multi instrumentalist and working out song since I was 5yrs old by myself. I've never properly learnt to sight read, which is a skill I'm working hard on now! I graduated with a BA in Jazz and I play piano, guitar, bass and drums and produce music and teach for a living. If there is a demand for it, I will start posting youtube tutorials on aural skills and understanding the foundations of harmony. All the best, Adam
Very nice! One quick "hack" that had me thinking of this without having to manually count a whole tone from each individual chordal tone is:
- maj7 = add the next major chord a whole step up (Cmaj7 + Dmaj)
- min7 = add the next minor chord a whole step up (Cm7 + Dm)
- dom7 = add the next major chord a whole step up (C7 + Dmaj)
Cool hack!
jonathanwing this is really cool thanks!
genius hack broh...
Very accurate so far..I like to this with whole half.dim scales and half whole dim scales...just do the same basic dim7 chords and move them up a 1/2 or 1 step. Eg.
C Eb Gb A up 1 step D F Ab B..
The scales for C dim7 for the whole half ..is C D Eb F Gb Ab A B C.
Man that really helps while improvising!
Much easier than thinking „individual note + whole step“.
With your way I can let the music flow like it should, thank you very much!
0:53 *Lydian Scale* _(Major 7 Chords)_
2:00 *Dorian Scale* _(Minor 7 Chords)_
3:10 *Lydian-Dominant (Mixolydian) Scale* _(Dominant 7 Chords)_
Dear Julian,
this is the best shortcut I've ever learned to find or memorize any scale from chord. Superb!!!
An hug from Italy!
Arr that means a lot to me Marco, so glad I posted his one.
Big hugs back, I hope to help you more in future too
Jazz Tutorial Hello Julian, your tutorial is great and i'm trying to learn from it. I have a question? How do i implement the scale if i want to play a song?
I am also in Italy but lack a band
@@leonardojivalino9310 play licks or just think up melodies within a certain scale, I think is the idea :)
@@georgesonm1774 What do you think if i play cannon in D but with another scale and not the major scale? Will it work?
Why the hell does this not come up when I search “How to Play Jazz” “Jazz Tips” or “Jazz Piano”???? This is so useful. Thanks man.
Hey Julian ! You’re the best jazz piano teacher ! You never drag the story or lie and waste time ! Everything you say is so clear and so understandable ! And unique ! Thank you very much !
Yea great vid. I play jazz flute. If I am going to do a popular number like Wave with the band and I know there is an ad-lib i dont just get on stage and play spurious notes in the scale or whatever. I take each chord....and plan my ad - lib with primarily the notes in the chord adding a few interesting sounds. Many years ago I saw Stan Getz in concert playing Wave. I then got his sheet music and saw that EVERY note he played was planned and scored. He did not ad-lib once and I'll bet the audience thought Wow what great improvisation. It wasnt. Thank buddy.
The melody at 2:50 is from "CREAM" by The Wu-Tang Clan. Originally from "As Long As I Got You" by The Charmels !
congrats, Joe...
Dollar dollar bill yoooo
Cash Rules Everything Around Me
+Steve Kp It's y'all, i.e. you all. Not yo, as in hello. That would sound silly, wouldn't it? Going up to someone and saying "Hey, yo", when actually you mean "Hey, y'all". You're welcome.
Steve Kp "yo" LMFAO
4:22 that scale is used in Polish mountaineer music, too. This scale in Polish is called Skala Góralska
I second that, it is used quite often in polish mountain folk music.
Lol, I couldn't expect that I learn some jazz theory and meet an old friend. szymek!
Are polish scales different from western classical music? Or are they the same and have different names?
jak to nas uczą w szkole muzycznej
"4ty podwyższony i 7 obniżony"
@@dawncordo It depends. Classical music in a traditional meaning in similar in all of the Europe. It grounds on two scales: major (durowa) and minor (molowa). Polish folk music uses scales, who aren't very different to the western folk music scales (I think): dorian (dorycka), phrygian (frygijska), lydian (lidyjska) and mixolydian (miksolidyjska) with it's hypo- types. The oldest polish folksongs use narrow-ranged scales: tetrachord scales and two sorts of pentatonic. The newer songs are based on minor and major. The lydian-dominant (góralska) scale is special because it is used only in Tatra mountains. It was an inspiration for some composers of the twenteenth centaury, for example Karol Szymanowski or Wojciech Kilar. If I made a mistake, please true up.
God i hate that "play Queen songs with simply piano" ad...
Install ublock. It will make most of the ads go away.
Erico Fadel since most people watch videos on their iPad this sadly doesn’t cut it.
Ro Lux statistically most people don’t own an iPad.
@@bragtime1052 fax
You have to get UA-cam Premium so you won't get ads again.
I came back here just to say how incredibly useful this tip has been for me. Thank you so much Julian, I suddenly feel a lot more "fluent".
Thank you so much Shouzeegestof. I have some more videos on scales planned.
In the meantime you might like this blog post I wrote on memorizing scales too:
www.themusicalear.com/how-to-learn-new-scales-quickly-easily/
When you demonstrated the Dorian scale you played it like the melody from Wu-Tang - C.R.E.A.M - respect ;)
Obeisant i was gonna call it the wu tang scale
heard that. its probably as sample from a different original, but absolutely the melody. From CREAM
The Charmels - As Long as I've Got You (1967)
Soon as I heard it I was like, I GOTTA LEARN HOW TO PLAY THIS
I only checked the comments to see who else picked up on that.. Lol
Every now and again you find a piece of information or a concept that is like a lightbulb moment that you know will change you as a musician forever. For me this was one of those times, thank you
Wow !!! You are a fantastic teacher! Finally someone who explains difficult concepts in an incredibly simple way !! Thanks so much!!
Yeah there aren’t many. Most lie and will make out like it’s this big mystery with no particular formula whereby the only way you can achieve it is to summon the jazz gods with your hidden talent. Eg your typical ass hole musician. That or they just have no clue how to teach correctly.
My man, this is such an enlightenment. You brought us lights. What a blaze.
5:58
U turn the heat down man.
Soooo soothing & relief!!!!
At 2:05. That melody in Dorian was first used by an all girl group, The Charmels, in 1967 (created by Isaac Hayes and David Porter)
Then it was featured in the song C.R.E.A.M. by the rap-hip-hop group Wu-Tang Clan in 1993. Which made it popular.
the most efficient jazz lesson I've watched in along time. Thank you!
I must have watched this very early on learning to play as I only gave a like. Coming back after 6000+ hours of practice since April 2020, this makes SO much sense! Thank you. I have a dedicated folder just for your tutorials. You really are one of the best. I've come to realise that most internet music teachers don't tell the full truth unless you get behind their paywall. You give sound advice that makes a difference instantly.
Very much appreciated.
Thank you Julian. ❤
Great lesson Julian - as a guitarist it's so good to be able to see how the scales relate to the chords - not so easy with the guitar fretboard. Thanks.
There are no shortcuts in learning jazz. Years of listening, transcribing, and building a vocabulary for jazz language is the only way to get to the level that you desire.
Where has this been all my life. This will make my guitar solos seem simpler. Never looked at it this way
as some one who has little to no theory knowledge this has been hands down the best video ive ever seen explaining jazz scales. so helpful, i am so appreciative.
The only issue I have is your theory does't take into account the context of the chord. Certainly you'd want to play a different scale over Cmaj7 if it's I or IV. Or maybe it's functioning in some modal minor context? These things should also be considered, right?
yeah I thought the same...not to mention the lydian dominant scale is generally only used over non-resolving dominants from what I understand....so can't play it over a V7, where you are most likely to see a dominant.
Luke Banchy I usually play a mixolydian over a five .. but it totally depends on the chord and the melody.. I'm still learning myself...there is so much to learn.
An easier approach would be to play the notes of the key signature unless a chord tone of the chord tells you to play something else. As a jumping off point, I mean.
That is a good point.. If you are reading autumn leaves which is a fantastic masterpiece of the modes etc.thats a good example. Both ways are valid. Of course you would usually go to a straight mixolydianI just did a video on Georgia on my mind. In the middle of the video ( i didnt cut it out, as I think its a good learning processs.. I said it probably just calls for the a7b9 here and I had put an a7 ). So not wanting to get it wrong but ; I just went to the net and found out it did call for the a7 in the verse. I got my keyboard out and made sure I had not made any other mistakes..as I was playing it I found the chorus that had an a7b9 in it.. My ear was hearing it, but I was mixing the two.. I guess it is also a taste thing. Jazz is not my forte.
I tried it on 'All The Things You Are'. Unless I've missed something, it doesn't seem to work at all. It doesn't make a whole lot of sense to play F dorian over the first F minor chord when you're immediately going to Bb minor after that, especially considering the fact that the aeolian sixth degree of the scale (Db in F minor) is the note in the melody over the following Bb minor. It's all kinds of wrong. This strikes me as a bit of a quack, cure-all remedy that in no way can replace traditional harmonic analysis for choosing scales, or even just playing by ear.
Spent a few days thinking about this technique and working it out on paper. It led me to revisiting Scale mode theory which I finally have down good enough to explain it to others in case anyone ever ask! Found a Funk backing track in E minor over at Coffee Break Grooves and played over it by ear writing down what sounded good to me. Took the E minor chord and applied the whole note above the triad notes and it fit what my ear told me was correct. Turned out E Dorian was the name of what my ear told me was right. Really a fun practical exercise with long term benefits. Playing by ear is a good thing but, combining it with the ability to put names on what to play is a higher level of musicianship. Practically speaking, when I get good at this, I won't have to fumble around for 4 to 8 bars to find the groove. This was a crossroad between theory and my ear.
Great Job!
CMaj7: C E G B ，all whole step up，we get D、F#、 A and C#，we have a C# whitch you did not mention on Maj7 Chord。 In years of practicing on Guitar，I Find D Ionian（1# 2 3 4# 5 6 7 on C）also works on CMaj7，at least it works on guitar。
子青 Yes, I also agree with you.
The whole step of B should be C#.
You're rigth. It si better to think in triads rather than 7th chords.
He didn't say that LOL He said to apply the "whole step method" to only the 1-3 and 5th intervals/notes of the 7th chords, not the 7th's. There was no mention of CHROMATIC movement using "c sharp" notes on Major 7th chords.. . It would sound horrific using a flat 9th on major 7 chords because major chords have to sound HAPPY not sad! However, jazz musicians religiously use flat 9th's on dominant 7th chords to alter them with flat 13 or raised 11th's or just a basic flat 9th "three-note voicings" using TRIADS 😂😂😂😂
Using the "Triad method" is way FASTER & EASIER to teach music students "jazz chords" or "black music chords" (such as: Gospel, R&B, Soul, Funk, Blues) instead of this whole step approach 😇🖤😈🎹🎵🎵🎵🎵
@@DICACIO1 you are right
Thank-you so much Junior for teaching me this method!!Today you have finally ended so many years of confusion about this and have simplified the process!!I feel like you have given me the keys to the Kingdom!!One of the best jazz secrets piano videos that I've ever come across...worth its weight in GOLD!! Thanx for ending so many years of confusion that I have had about which scales to play over which jazz chords!! I feel like an enlightened Yogi who has just had one of those AH-HA moments!! So thank-you master!!! My years of confusion have finally come to an end!!!I can't thank-you enough!!
What a great tip. Thank you. One quick way to remember the 9 11 13 triad is to think of it as a chord on top of the original four tone chord: D/Cmaj7, Dm/Cm7, D/C7 and D°/Cm7b5
Torkil Zachariassen Using the slash chords as way to see this very good.. I like to write things out as I go..eh your tip.. cegbb d f# a. . I write things out in detail so I can remember this and it may help the beginners.
Wow, this is handy for me as I have trouble with extensions all the time.
Yup ive always been a supporter of slash chords or poly chords to quickly learn exotic chords. I used use the same technique to learn 13 chords when i first started playing jazz.
Id write Gm/Ab (Ab D G Bb) and the guitarist would say but thats not Bb13. Well if the bass is playing the root it is LOL.
Another one again if bassist is playing root...Em7/Ab is Bb13b9
Love the slash chord format. Saves a lot of time.
Very captive and super clear.
Allow me add a little comment,
"dominant lydian" or "mixolydean #11" is also widely used in Brazilian folk music from the North East of Brazil.
6:40 *plays licc* - silence - “That sounds great” XD
I laughed at loud when he said that!!
not gonna say sounds like crikey crap mate!
Loll
Thank you for these videos. I got my degree in classical bass trombone performance, and I always played in big bands, but my teachers didn’t take my requests to learn jazz seriously. As a 46 year old who’s now learning on my own, I understand a lot about theory, so the chords aren’t necessarily a mystery, but feeling confident with my scale choices has been a real hang up. You’ve given me an incredibly useful tool. ❤️
Just some thoughts and hacks. When I am playing C blues I have a tendency to go down a minor third to a blues and play it over the C7 And G7. This is what Lestor Flatt did when he played the the G run G A Bb B D E. Put the E on the front note and you can see the E blues scale over the G. E G Bb B D E..So if I'm playing G blues..I'll often switch to the E blues.On the four chord of C blues progression which is F7 dominant, I often will play C blues scale.From the F7 the C blues scale C D Eb G Bb is 5 13(6) 9(2) 11(4). There is a lot of flavor on the F chord.
Could never remember these sophisticated-sounding scales before bumping into your ‘whole step technique’. Finally had a useful reference whenever I get lost on the keyboard. Can’t thank you enough for the best explained video on this subject, Julian!
This lesson changed my life!
I'm so pleased to hear this BATTIS94 - I know that this is a common question people have, because I hear it a lot.
I should say that you always have a choice of scales you can play - there's never just one - but this method ALWAYS sounds good, especially if you don't have a specific plan or scale in mind.
Do you have any other video requests?
Thank you for the reply. I'm new to jazz and this kind of improvisation. I'm a music theory oriented kind of guy so I usually need to make an analysis beforehand if I want to play something interesting. So this technique is amazing to come up with something fresh on the spot! Regarding your question, since I'm subbed I'm constantly blown away by you videos, I'm learning things I didn't thought I could learn hahaha and I'm still going through your older videos, so I have nothing to request yet.
Arr that makes my day. Glad you like the videos.
I don't know if you're already part of the Jazz Tutorial email newsletter, but I send out additional tips like this every week - most of which I haven't made videos on. The sign up link is at:
www.themusicalear.com/jazz-piano-email-tips
I am, thank you!
@@jazztutorial This helps guitar, bass, violin...any instrumentist really. A lot of guitarists have a hard time understanding modes. Seeing it laid out on piano from left to right makes it really easy to understand. Ill be pointing my students to your video in the future and using it to help explain modes during lessons. Good one man!
Awesome tips man! Thanks for making this video.
If I'm not wrong.
to make it easier,
if the triad you're playing is a major( regardless if it's a 7 Or M7), then "ADD AND" play "major triad" whole step above ,
if the first triad you're playing is a minor (e.g. Cm7) then ADD AND play a "minor triad" a whole step above .
Ah thanks for this bro! I just checked, you're right. Makes it a lot easier
It is easier your method.
THANK YOU! from a classical pianist that always greatly admired jazz and its musicians ..you are,, frankly ...artists and geniuses!! more THAN Many classical pianists are...!!
Hi Julian: This is really an excellent video and gives lots to practice on. You indicated that you use this method perhaps 70% of the time. Can you, at some point, share what you do, and your thoughts the other 30% of the time? Perhaps a separate video or two delving into your detailed thought processes as you improvise from chord to chord. Say, for example, you know a piece extremely well and you feel like stretching your improv wings. What thoughts flash through your mind (they must really flash when doing this on the fly) and alternatives do you consider as variations to this 70% (already great) approach?
Very good question, I'd like to see the answer to this one!
I second this!
David Maher The spirit of jazz is improvisation, there is a chance in that other 30% he probably uses what sounds good to him and he decides to not plan everything and just tell a story putting a group of notes together. Would be great to read/view to his answer. Great video.
The remaining 30% will be the list at the back of the book as he stated at the start of the video, i guess. Having a easy shortcut for 70% to kickstart playing is fantasic enough already.
Hey David, great question.
So sometimes I'll play the blues scale over minor 7 chords. So over Cm7 I'll sometimes play C Eb F Gb G Bb (which isn't derived from this chordal tone + whole-step method).
And other times, I'll change things up over V7 chords - since V7 chords are the best place usually to use exotic scales. So over C7 I'll often play the altered scale (C Db Eb E Gb Ab Bb)...
...and occasionally I'll play the diminished scale, or whole-tone scale.
A good tutorial to see me talk about these other scales is my 'Exotic V7 scales' video here:
ua-cam.com/video/K9JGgjQG-Uw/v-deo.html
Does this make sense? Let me know if this helps.
This is the 1st time I getting to appreciate Modes like Dorian and Lydian.. Thanks for sharing the great practical tips!
I play guitar, but this video helped me more than any guitar video I’ve ever seen. Definite subscribe.
same tbh, can confirm it^
In my youth I was a classic piano-player (also Baroque on harpsichord) with a secret passion for jazz. During the years I've lost touch with music-playing but now, I would like to revive my connection. I started with J. S. Bach which is good for the memory (not so good lately...) and searched my way to fulfill this old secret passion of mine. I found (by chance) the answer here in your excellent jazz tutorial. Thank so much for your fine uploads.
CREAM get the money, Dolla Dolla bill ya
There it is - well spotted Ayorobotussin!
you forgot method man sucking spit back into his mouth in the lyrics.... so it would be " CREAM, get the money,* method man sucking spit back into his mouth* Dolla Dolla Bill Y'all."
Haha so true Josh! I need to go listen to that song again just for that
Where does this come from? What does it mean
Plum Hunter wutang clan bro, come on
Taking these examples and applying it to the guitar has opened up a world I can now freely step in and out of. Very much appreciate the lesson. Thanks for your time!!
when i was 13y old i was learning the piano with this teacher and it was so confusing and suddenly realizeed that you just add whole step on any notes in any chords, just like in this video
Ik I was seriously just realizing that there's much different ways of explaining the same thing. And some people just have a much easier time understanding certain ways than others. Like more technical learner's probably understand intervals and scales easier where as a visual/hands on experimental learner like myself has a much easier time visualizing it as chordal tones and just adding a step to each
What holds me back every time I learn a new jazz "thing" (I'm just a beginner to this) is that it always looks terrible for me in the begining (like the start of this video) but when you put it together you create beautiful music.
Mate, this is definitely one of the best hour of study I had. It was a pleasure to play along learning from you, thanks!
After years, your videos have completely changed my direction and passion for Piano. Thanks!
do you play more hip-hop jazz? diggin' the "cream"
I'm new to jazz and always don't know how to practice. I'm a classical pianist, start learning jazz from last year, and still didn't know how to learn for piano part! But this video seems can help me, I will keep watch ur video, hope can find a way to help myself. Thank you for your video!!!
Thanks, Julian. It's so cool method you've shared! I really like it.
During the watching, I came up with an idea, that I can get the same result (get a scale) by adding the same triad like in initial chord from the 2nd note ( f.e. if you have C7 initial chord, then add D triad; once you have Fm7 then add Gm triad; if dim - then dim, etc. I think you know it, but maybe it will be helpful for someone :)
I believe you are correct. I suspect that this would show up om a fetted instrument like a guitar.
Very helpful! thanks man!
From your video I noticed that you can build II chord
with the same value of the tonal chord, and both of them will give you all the notes of the scale you're looking for.
for example:
In C lydian scale, the first chord is Cmaj (root - major), the next is D (II - major)
In C dorian scale, the first chord is Cm7 (root - minor), the next is D (II - minor)
and so on.
I think it's even easier way to remember it in real time.
This was much needed. Love the easy approach!
Glad this one helped Tiffany, these are the sort of tips I post every week in the email newsletter.
I never could figure out how it is known which notes to play with jazz chords. You are first person who explained it!! Thank you!!
The Lydian Dominant scale is also very common on north-eastern brazilian folk music. Kinda specific and not very widespread, but definitely worth it checking genres such as forró, xote, baião, etc :) Awesome vid! Love the tips, I'll certainly put it to use
NEW jazz piano tuto. ua-cam.com/video/6XaJPqX_k7s/v-deo.html
Clarity is so important to learning, thanks so much for your insight.
Love and respect.
You have answered my questions, may God bless dear, I have been looking for Jazz scales
I studied classical music but always I have wanted to learn more about Jazz. I'd like to have a teacher like you my friend.
¡Saludos desde México!
He sounded like Korg from Thor Ragnrok on 0:00
Clive Wasilin 😂😂
I used to think that could just play the scale of the root note and that it would fit with all the chords I'm playing because they're all in the same key, but this will definitely be fun to try
The guitar may be my main Intsrument, but this is still overly helpful.
Thank you kind Sir ;)
Moneymade77 the piano is an instrument of all the instruments :)
Guitar and Piano are very helpful for teaching each other. They are both “chordal” instruments, where we can play these big lush chords, and also both instruments are very pattern based
I played along on my guitar and it made things very clear
I go to singlas music to learn my piano theory.
Moneymade
i've been confused for years, then suddenly i clicked the link to this video. AND MY SUFFERING HAS GONE FOREVER!!! Thank you so much. this is the best video i've watch on youtube in my whole life so far :'))
best regard, church pianist from Indonesia...
This is good, useable, info using simple concepts. Anybody with basic theory should be able to take this and run.
NEW jazz piano tuto. ua-cam.com/video/6XaJPqX_k7s/v-deo.html
This was mega-helpfull! I was getting bored jamming over Major and Minor scales, but I had no idea where to start with giving my music a more "jazzier" feel. Thanks alot!
I play music mostly by ear on bass or guitar. I began picking up keyboard and music theory about two years ago. Music theory to me seems very much like math and math puzzles and lots of memorization of formulas. I now find myself creating music much like a person solves a rubik's cube. You learn patterns to start the puzzle, different patterns automatically click in, and then there are final patterns that solve the cube. But when it comes time to lay guitar and bass tracks all the patterning goes out the window because it gets in my way. It's like mind clutter to my guitar ears. I usually end up laying tracks by ear or chopping up the audio wave and composing note by note and sound by sound. My question for you and all the music theory people reading this is, Do you ever just sit there and play or record without thinking solely by what you feel or is everything you compose intricately worked out in advance according to theory/rules and with no chaos?
Ken D. Webber hmmm...it's true that music theory can be sometimes confusing like math...but on the other side if you want to be a composer you have learn music because it's still important :
-It's allow you to avoid mistakes on your composition
-it's help you to communicate easily with other guitar player
- and it's help everyone to study musical piece that they like and playing them ect....
I like your second point. Your first point is where I'm getting at. You call it a mistake and yet those "mistakes" are frequently what catches people's attention and sells albums from Slayer to Nirvana. They make the music interesting because they take the ear where educated jazz musicians would never go and the music ends up sounding fresh. There are no mistakes in music. There are only journey's and paths that you either take or do not take.
Ken D. Webber Yeaaah i think you're right about it sometimes it doesn't hurt to get out of the box obviously and experimenting new stuff that nobody has ever tried...i'm okay with that
but i m just saying it's better to know the rules first and then break them.
It's about being able to visualize the notes and their sounds and understanding their relationship to eachother at the same (knowing how all the notes you're playing relate to the underlying chord). With practice it becomes second nature and you can freely express yourself. Its completely visual, thats why you have immediate access to any sound you want to create. Dont waste your time with filling out theory books because if you cant visualize it on the neck its useless. It's a super long process that definitely feels like brain clutter at first, but as you start to understand it, you start to be able to see the music on the neck the way that youve always wanted it to come out in your head. you'll find you can even play guitar in your head while still being aware of every note you're hearing and where it is on the neck
The best way I can describe it is that when one continues to play and listen, the rules become internalized, and many of the same patterns emerge naturally as you play. Sometimes you don’t have to think about it at all.
THANK YOU!! I just picked up the saxophone and have an audition in a month and you just saved my life so yeah.
Cool concept. But, I have to disagree with you about the Lydian-Dominant scale not being found in other genres of music than jazz. It was used a lot by composers like Debussy from the Impressionist era. It was called the "Acoustic scale" or "Overtone scale".
Lord Zeus Yes, as well as in Modern Orchestra, music score (Jurassic park, E.T....
In fact it's called Bartok scale too..
I disagree with that as well. Raag Yaman in Indian Classical music uses Lydian scale
Lord Zeus if you don’t mind me asking what compositions were they by debussy??
Jazz players have this notion that things were invented in jazz, when in fact pretty much anything played in jazz was invented first in classical music...
Has it always been so simple??? Why am I only learning this after so many years of confusion!
Thank you mate! Smashing that subscribe button!!
Nice video, sir, thanks a lot! Just one question:
Is there some similar technique to apply to diminished and augmented chords as well? It would be helpful!
Im going through the comments. Saw this comment of 3 years ago. You may know all of this I think that a similar pattern will work. Here is possibly an answer. I am doing this on the fly. Ok, the video suggests going up a whole step. So I would try a Whole Half Diminished scale and see of it fits.
C D Eb F Gb Ab A B C. That is basically a combination of 2 full diminished seven chords.
C Eb Gb A and D F Ab B
C D Eb F Gb Ab A B C
The second row is HW dim scale.
Also..each one on the top is a minor 3rd ..or 1 and half steps up. On a guitar this would be 4 frets.
This must be, by far, the best music lesson I´ve ever had, thank you Sir!
Julian, your tips are worth gold! Thank you so much for sharing, mate.
I never comment on youtube videos, but I just had to log in to tell you that.
All the best from Germany.
Arr that means a lot Peter - especially that you went to the hassle to log in just to post this (I know the feeling). Thank you for doing that, and I'm so pleased this video helped.
Are you subscribed to my email tips? If not I've written loads just like this lesson - on reharm, improv, Tritone sub, etc.
This is a nice tip! I feel like in some places this doesn't work, for example when you played the Ab major (7:55) that chord sounded so resolved that the Lydian scale just adds unnecessary tension with the #4.
Oh man I love a bit of life-changing music theory in the morning
On ALL MAJOR CHORDS, you have a 1-3-5, right? Like C-E-G for C major triad chord, yeah?. ...Ok, play a B minor TRIAD over a C-G-C or C-G-B in the Bass. That turns any regular basic C major triad into a C major 7th chord. Now, Play a D major triad over C in the Bass to make it a C major 9 chord. See how easy that is!? 😂😂😂
Using the Triad method, you always learn faster!
Also, for every minor or major triad you are using, learn how to use every INVERSION and/or Position possible on your keyboard or piano 👍👍Move that specific Triad up and down the entire Piano until you can play it with your eyes closed like Stevie Wonder would teach you in person LOL!
The reason for that is so you MASTER how to MOVE around the keyboard during solos, or like, when you need to help the SINGER sing better, because LOCATION is everything when playing the piano! hahaha
Here's some more Happy fun Tricks to use:
On ALL MINOR Chords, play a major triad for the 3rd note, and a minor triad for the 5th note.
So you put A-E-A or A-E-G in the BASS and play a C major triad for the A minor 7th chord. Play an E minor chord over A in the bass for the A minor 9 chord. Yup, it's that easy!
You can also find tons of other amazing chords by using all the other minor and major chords, sus 4, sus 2 triads over any BASS NOTE in your left hand. In fact, you will become a Monster on the keyboard/piano way FASTER this way!
You can also play a C minor triad of A in the Bass, or E major over A in the Bass to figure out how to use it for different music styles. Your ears will guide you and let you know which KEY you are suppose to use those special chords for, but that's the FUN in learning how to experiment with music. No strict Rules, just have FUN! Play whatever you think sounds good to YOU, not what sounds good to anyone else.
On any "TURN AROUND" dominant 5th CHORD you use before going back to the "home chord", you can come down on it's MAJOR TRIAD it belongs to. For Example in the Key of G Major:
Use a G major Triad with D-A-D in the Bass. Then, while still sustaining a D in the Bass, do lots of RUNS up and down the G Major scale. and then resolve to a G' chord or Gadd2 (Gadd9) chord, or a basic Gsus4 chord to the G chord to end the song. LOL
Also with a G-D-G or G-D-F as the Bass notes, you can come down on a D major triad or an E major Triad to make it sound extremely MATURE, Beautiful and very Jazzy. That's a kool trick to know for Gospel and R&B music styles 💥🎹👀
The SECRET of playing really good, is learning ALL the user-friendly tricks. So, learning which Triads work for each ROOT note in the Bass is what you need to practice for hours and hours!
... Always ANALYZE what you're doing in the right hand. Ask yourself these questions:
Am I playing a 7th chord, a minor 9th, a major 9th, a dominant 7th flat 9 or dominant 7th flat 13 chord??...or is this a regular dominant 13 chord?? What chord is this TRIAD creating? Why am I playing so much better now!? How did I get so good so fast!? YAY!! 😂😂😂🎵🎵
BEGINNER students learn FASTER when you explain things MUCH EASIER to them. They "get it" and understand it using TRIADS way quicker than any other method out there! 👍👍🔥🔥
Never forget...People get LOST when you use words like "semi-tones, whole steps and half steps, a tone, two tones, 3 whole step and a half..." etc etc
The PIANO IS A VISUAL INSTRUMENT. Keyboard and Piano Students naturally see things FASTER when they think of Triads, not "mathematical equations" or complicated explanations as to WHY this note is a 6th and 13th, or a 4 and 11th note at the same damn time LOL! 😹
Cheers! Enjoy these amazing New Tricks and Short-cuts, My amazing Friend! Hahaha
i wish you travelled to spend months to the philippines to TEACH!! so many would go CRAZY wanting to BECOME jazz musicians!! and discover its great , rich. beauty...from a wonderful musician like you who makes it all so clear and reachable..wow!! ..it makes me want to go back to my piano here ...and study like a total beginner again...for the NEW wonderful world of JAZZ!! that i only appreciated as a mere listener but never confident enough even with my classical musiic knowledge ..- to try!! and i wish MORE people who love music could learn it the way you teach it.!
Awesome dude I wish this video was around 20 years ago for me lol
Thanks for sharing, that's simple and awesome. And it becomes even better: All of the modes are major scales. Lydian is the major scale of the 5th, so C Lydian is G Major. Likewise, Dorian is the major scale of a whole tone below, so C Dorian is B flat major. And even better, the scale for a major 7, say C, is the same as for the parallel minor 7, in this case A minor. It's both G major according to that rule. So you really only need to memorise all the major scales and apply them properly. The only thing to remember is the Lydian Dominant variant with the flat #7.
Brilliant.
Question, what do you use the other 30% of the times?
Robert Barkho improvise
Willy Wijaya
improvise where?
adding random or what's left over notes?
THE BEST JAZZ VIDEO TUTORIAL I HAVE EVER SEEN!!!! THANK U MAN! YOU ARE THE BEST
388 people picking up on a Wu Tang reference in a jazz piano tutorial just realized that they're now middle aged. 😂 😂 😂 😂 😂
i knew that wu tang reference and im 7
This was fantastic and exactly what I needed! Thanks Julian!
Gonna use this over Strasbourg St.Denis! I never understood how to use modes as people including my lecturers never explained it to it fullest. It was only the scales but not how to apply it with what chords so until this very moment as I was typing I was in confusion but you've explained it so concise! Bless you Sir!!!! hahaha
oh man youare the best awesome
I've learned a lot from Julian Bradley in a short time via his online school. Great teacher, very clear, great resource for anyone wanting to learn jazz piano.
I want to get better at piano but damn, how do you remember all of this on the spot and apply it so smoothly shiiiiit haha
Been playing 🎸 and 🎹 over 50 years. My memory is not fantastic.
Y its not unusual to play thousands of.notes when improvising.. I do that jam tracks. Part of that is playing by ear..If you have played the blues of thousands of times in a lifetime..you just have down in your memory. As time goes on you learn a few scales..Learn how pick and grin while playing a little bluegrass. Then you read some books..I've got a fair amount of those.
Awesome video, I had not idea about these whole step technique. I wish you'd play around these scales when you play misty at the end of the video.
8:59 I was actually taking screenshots the whole time XD
You're not alone man:)
I have been using screenmaster for screen shots. I
I’m not sure if this has already been said (just found out it has) or is common practice in jazz but I just noticed that you can just mix the chord with the same chord 2 intervals up. Lemme explain. Since we only do the root 3rd and 5th we don’t have to look at the dominant 7 or major 7 etc. if you had a Cmin7 chord and need the scale you transpose the 1st 3rd and 5th notes 2 intervals up to make a Dmin chord. Mixing this Dmin with the Cmin7 makes the scale for improv. This works up almost everything. For C7 and Cmaj7 they both transpose to a D major chord and you just combine the two chords into one scale. With C minor it goes to D minor(7s and maj7s don’t affect the transposed chord so D minor would go with Cm7 or Cm maj7). C dim chord goes to D dim. C b5 chords would go with the respective D b5 chord etc. works with all chords 2 intervals up. for Example Ab maj7 combines with Bb major.
This is not always going to work frankly. Scales work in relation to a whole key, not one chord. Cannot play a dorian scale if that Bbm is the 3rd chord in a Gb scale, or the 6th in a Db scale. Good tip, but as you said in the beginning, you just showed us what to do, didn't actually explain it. Also you said you use these chords most of the time, which means there is still that time which you play different things, that we still don't know. In my experience, you just need to understand where the chord is in relation to the current key of the song. Meaning when you hear a minor 7 chord, you need to understand which minor 7 chord it is, is it the 2nd, 3rd, or 6th chord of the scale? it's all 1 major scale, starting from different points of the scale. You gotta listen to that scale, and work by that - the key\current key ( it can change a few times during a song) of the song.
Omri Keren that is correct! I am a university professor of jazz harmony and I was just about to comment on this as well but your comment covers me.
...ALSO IF YOU'RE PLAYING BY YOURSELF - LIKE HE IS - HIS METHODS WORK - FOR WHAT HE WANTS TO PLAY... - HOWEVER - WHEN PLAYING WITH OTHERS - THIS METHOD MAY NOT WORK... - THIS IS WHY IT'S VERY IMPORTANT TO LISTEN TO - WHAT EVERYONE ELSE IS PLAYING - AND - EITHER AGREE TO DISAGREE -BC - THIS METHOD GOES AGAINST THE CHORD RELATION TO A SPECIFIC KEY - AND - STICK WITH TRADITION... - OR GO OUT ON A LIMB - AND - EVERYONE PLAYS - THE WRONG CHORDS - TO BRING A DIFFERENT COLOR TO THE CHORDS/SONGS... - AND - NOT PLAY THE SAME TRADITIONAL CHORDS/THING - ALL OF THE TIME - AND - APPEALING TO THE TRUE MUSICIANS WHO ARE LISTENING TO THE MUSIC - VIA CHORD STRUCTURE/VARIATIONS - TO ADD MORE FLAVOR TO A SONG... - CAN BE QUIET REFRESHING - SO HAVE ALL OF THE FUN - WITH MUSIC YOU CAN - IT'S WHAT GIVES US OUR OWN SOUND - AND - WHAT MAKES US PLAY IN THE FIRST PLACE... - SO EVERYONE - KEEP UP THE GOOD WORK - AND - NEVER FORGET WHY WE ARE MUSICIANS IN THE FIRST PLACE... - TO HAVE FUN - EXPRESSING OURSELVES MUSICALLY... - GOOD LUCK - AND - GOD BLESS...
@@mariostoumbas6531 thanks for the idea. I was looking for comments like this. because I was confused how I should be listening if say I have dominant chords, should I still think in the major scale that the dominant chord is in, making the dominant chord the 5th of the scale or should I think of the dominant as its own scale (1st), like how the minor scale is the 1st
This is the kind of Jazz lesson video i’ve been looking for many years.
Cheers!
you kinda cheated with the Major chord - according to this system you should add one step from B and get Csharp
Except he said a full note above the 1,3,5...
@@mysticsailor9 did he? I remember him showing with the dominant to go a step over B flat to C. No?
@@mysticsailor9 He's right, check the subtitle, he's telling "Whole step" not full note !
@@DidierMartini sigh.. a "whole step" is a full note equals two semitones equals exactly what he said and did..
@@mysticsailor9 I'll explain better... The title of this video is "end of your confusion" so.... (Check my youtube channel if you think i don't know what is a Whole Step / semitones ;) ). he tells "add a whole step to root third and fifth" at 1:20, yes he tells it, so where is the problem ? one small line on a 10mn tutorial video where he shows to understand the trick the 4 notes of a 7th major chord, not 3 !
you have on the screen "whole step technique" with C E G and B written under it ! It would be ok if he'll only tell and play "C -> D , E->F# , G->A, but he's playing the B and a C just after without explanation.
(I was a piano/Jazz teacher).
it can confuse any beginner who would apply the so called "whole step" technique. Put yourself in the seat of a complete beginner who just learned his scales and know what is a semitone and a whole step but nothing else. Telling it's only working on the Root, Third and Fifth must be written everywhere and not playing a B followed by a C on the video while explaining it, unless he explains why he played a semitone on the last note instead of a whole step !
Superb. I love instruction like this-he just gave us the key to unlock the keys!
Was that wu tang? Lol
Absolutely - as a teenager I transcribed just about every Wu Tang piano riff
Arturo Senni Hahaha, buddy knows The Charmels'. Is this guy a prestigious Italian professor or what?
Arturo Senni What a horrible man you are
Arturo Senni I mean, Wu Tang is for children.
Arturo Senni seemingly grown men calling younger generations ‘retards’.. adults these days..
Wow! I'm a rock musician trying to make sense of the complex puzzle called Jazz, and this video just gave me a key piece. Thanks!
nice :) though I still hate the names of the modes.. with a passion..
it sounds so pretentious and purposely obfuscating to say "C Lydian" instead of "G Maj with root C".. any beginner can play G Maj and start/end on C, but most beginners have no idea what Lydian is. those stupid mode names need to be taken behind the barn and never return.
This is most likely the most ignorant post about music I have ever read. Get some good reading or youtube about scales (modes) and you will forget what you just thought and wrote.
What a super lesson!! Thank you, Mr. Bradley, for your expertise, time and generosity.
8:59 i heard a lofi music with the same lead :v
That may be because almost all lofi hip-hop music uses samples and melodies from jazz records
Misty is the titlee
Thank you for explaining. It's really very easy to understand how use those scales. I'll watch all you video - it helps me in learning jazz. Very good, thank you for all)
I don't think I can adequately express what a counter productive video I think this is. It takes you on a useless tangent if you're trying to understand jazz harmony and which jazz scales are used in jazz. Just learn the modes of the major scale; e.g. a ii-V-I is played using the Dorian, Mixolydian, and Ionian modes.
ua-cam.com/video/pQlQghQKzmQ/v-deo.html
Great for the casual player like me though. Been learning jazz for a few months now, can't read a shred of music but can quite fluently play chords. Haven't really delved into scales or improvising so this is a nice start for me.
Why name 3 different scales since they all contain the same notes? Why not just have one name to describe the one thing? Not trying to be a smart ass, genuinely curious.
I've been looking for JUST LIKE THIS TUTORIAL! The best chord lecture ever. This is first time to watch your video and to become huge fan of yours. Thx!
Wu tang
The way you explained, it was like very old method of explaining indian classical music scales. Incredible
I love harmony, and I have a deep understanding of it. Let me clarify for anyone watching this video and implementing it's suggestions in the real world, this will ruin your music.
When you play IN a key, (as 99% of the music you will ever hear is) you play notes that are contained within a scale, the first note of which is called the key you are 'in'. In the key of C major you would use a C major scale. In the C major scales there are these notes: C D E F G A B. If I build 3 note chords (triads) or 4 note chords (seventh chords) using only these notes (in a 'play one skip one' fashion) I get a pattern of major and minor (and diminished) chords.
The pattern I get from triads is Major, Minor, Minor, Major, Major Minor, Diminished.
The pattern I get from seventh chords is Maj7, Min7, Min7, Maj7, Dominant7, Min 7, Half diminished. (note there is more detail to the chord description {V's major becomes "dominant" because thats the name for a major chord with a b7th} {Diminished becomes "Half Diminished" because you get a bb7th in a fully diminished chord, and only a b7th in a half diminished chord} because 4 notes is more 'descriptive' than 3).
The pattern I get from a 5 note (ninth) chord is Maj79, Min79, Min7b9, Maj79, Dominant79, Min79, Half dim b9 (even more detail! but notice that still there are two Maj79 chords and two Min79 chords that still have the same extensions) - lets continue.
The pattern I get from a 6 note (eleventh) chord is Maj7911, Min7911, Min7b911, Maj79#11, Dominant7911, Min7911, Half dim b911 (note I only have one ambiguity now, chord II and chord VI of the series are still both labelled the same, they still have the same extensions).
The pattern I get from a 7 note (thirteenth) chord is Maj791113, Min 791113, Min7b9 1113, Maj79#1113, Dominant791113, Min7911b13, Half dim b911b13.
These are scales (or chords) of their own, even though they use the notes from the C major scale, they have their own unique sound, some are often employed in Jazz music, they are called MODES. Each of those 7 note chords has a name.
1 - Ionian
2 - Dorian
3 - Phyrgian
4 - Lydian
5 - Mixolydian
6 - Aeolian
7 - Locrian
Back to our C major scale chords briefly: Cmaj, Dmin, Emin, Fmaj, Gmaj, Amin, Bdim
Now, because we often very quickly develop a strong sense of the key we are in when listening to music, it can be very obvious and 'wrong' sounding, if someone matches the wrong mode with the wrong chord. For example if I played the chord Cmaj but played the 4th mode (C Lydian ) over it, it would sound strange in the context of the key - this is because of the series I wrote earlier showing that our ears would 'expect' to hear the notes C D E F G A B (Ionian) rather than C D E F# G A B.
When I listen to music I can immediately pick out 'where' I am in the key/scale, the way that my brain has learnt to do this is by singing a 'scale' starting on the first strong note I hear in the piece and then working up or down from there to find a pool of 7 notes that work. At that point I don't know where the 'beginning' of my scale is, but I use the relationships between the notes (tones or semitones) or I find where feels like 'home' and then test it out by singing a nursery rhyme or some such famous piece of music that I know starts on the 1st note of a major scale (e.g. Twinkle Twinkle little star) to check if I've got it right.
I have no need to do this consciously anymore because my ears have becomes so sensitive to key/scale relationships that as soon as I hear a piece of music (within I would say 2 - 3 seconds for 90% of the music I hear) I know which chord I'm on in the scale and then a couple of seconds after that I have worked out the note the melody is on.
I don't imagine notes anymore, rather I hear the relationships between the notes (regardless of whether they are C D or E etc.).
I DO NOT have perfect pitch and this is a skill I have developed from being a self taught multi instrumentalist and working out song since I was 5yrs old by myself. I've never properly learnt to sight read, which is a skill I'm working hard on now! I graduated with a BA in Jazz and I play piano, guitar, bass and drums and produce music and teach for a living.
If there is a demand for it, I will start posting youtube tutorials on aural skills and understanding the foundations of harmony.
All the best, Adam
Don't be so impressed with yourself.
Possibly the greatest music tutorial I have seen to date. period! thank you!