Another perspective would be that F minor(and it's companion Bb7) is a IV minor borrowed from the parallel minor key. In other words, a plagal cadence with the IV minor
Take the Creep (by Radiohead) chord progression, and then add this backdoor resolution, using the minor plagal chord (the iv minor) as your ii, for the 2 5 1.
You could use the F melodic minor scale to solo over a 2-5-1 in C, however I would maybe use that sound over a minor 2-5-1 instead because of the Ab. When you get to the 1 chord, then switch back to c melodic minor. You would be missing the B of the G7 chord doing this method, BUT you can make anything work if you use your ears. The C major KC blues scale can mostly defiantly work over this progression.
Another very interesting video. I have often heard this sound in jazz. Isn't this just essentially the relative minor Cm7 to CM7---- as C minor contains three flats, Ab, Bb,Eb? And the "back door" concept from the Cycle of Fourths Fm7 C? Sometimes these jazz concepts get real confusing.
Yes there are multiple ways to think about a back door dominant. You can think about it as F- instead of Bb7. However, the #11 in the Bb7 is important to the sound of a back door, so maybe F-maj7 would be a better scale to use. I would probably not use Cm as it contains the Eb when we need the E natural in our sound.
The Back-Door Dominant in C Major is the flat seven minor flat five, resolving to the 8 ( octave ), as played by 'Stevie Wonder' to give the the resolve a postive uplifting finality, rather than a letting down.
Hi Donn. I'm not familiar with the backdoor being used as a minor 7 flat 5 chord. I'd be interested to hear what that sounds like. Could you reference the recording Stevie does that on?
Thanks! this is really helpful. I'm working on Cherokee atm and that has this type of chord movement. The Ab7#11 -> BbMaj7. I was mostly just playing arpeggio licks, but it didn't sound quite right. You have given me a ton of new options to try.
Another perspective would be that F minor(and it's companion Bb7) is a IV minor borrowed from the parallel minor key. In other words, a plagal cadence with the IV minor
Yes very usefull, always interesting to get strategies from someone knowledgeable.
Take the Creep (by Radiohead) chord progression, and then add this backdoor resolution, using the minor plagal chord (the iv minor) as your ii, for the 2 5 1.
Thank you for your lesson. My question is can we use KC blue scale and F melodic minor to solo over normal 251 of C progression?
You could use the F melodic minor scale to solo over a 2-5-1 in C, however I would maybe use that sound over a minor 2-5-1 instead because of the Ab. When you get to the 1 chord, then switch back to c melodic minor. You would be missing the B of the G7 chord doing this method, BUT you can make anything work if you use your ears. The C major KC blues scale can mostly defiantly work over this progression.
Whew!!! "Backdoor Dominant"; I was afraid this was something for an.... "adult" channel!!! :P
That was a good one.....You sir just won the internet for today
@@aaronservice86 I'm a silly old man.
LOL! That would surprise people for sure!
Very useful lesson! Yes on part 2!
Thank you professor for this video, it’s like I’m never leaving the classroom with ya 😂. This helps a lot for Cherokee, thank you
Another very interesting video. I have often heard this sound in jazz. Isn't this just essentially the relative minor Cm7 to CM7---- as C minor contains three flats, Ab, Bb,Eb? And the "back door" concept from the Cycle of Fourths Fm7 C? Sometimes these jazz concepts get real confusing.
Yes there are multiple ways to think about a back door dominant. You can think about it as F- instead of Bb7. However, the #11 in the Bb7 is important to the sound of a back door, so maybe F-maj7 would be a better scale to use. I would probably not use Cm as it contains the Eb when we need the E natural in our sound.
The Back-Door Dominant in C Major is the flat seven minor flat five, resolving to the 8 ( octave ), as played by 'Stevie Wonder' to give the the resolve a postive uplifting finality, rather than a letting down.
Hi Donn. I'm not familiar with the backdoor being used as a minor 7 flat 5 chord. I'd be interested to hear what that sounds like. Could you reference the recording Stevie does that on?
Thanks! this is really helpful. I'm working on Cherokee atm and that has this type of chord movement. The Ab7#11 -> BbMaj7. I was mostly just playing arpeggio licks, but it didn't sound quite right. You have given me a ton of new options to try.
Hope it helped! Thanks for watching!
Your videos are so valuable...I learn a lot and greatly appreciate your efforts....wishing continued success to you
Thanks a ton Jake!
Excelente lección. Muchas gracias maestro.
Thanks for your support on these videos Salvador!
Exeĺete master jazz
Thanks for your support Siglo!
Cool Chanel!
Thanks for checking it out, hope you find some useful stuff!
Look forward to your lessons. Very helpful thanks!
Appreciate that Peter! Glad they are helping you :)