This was a really helpful lesson. Your diagrams of the five positions of the scale emphasising the ‘root to root’ system, makes this so much more understandable. Playing this scale over a backing track is the icing on the cake.
Matagal nakong naghahanap ng mga lesson sa jazz na maiintindihan ko nang mas madali, at sa wakas nahanap ko rin yung channel mo sir!!! Salamat nang marami at God bless sa inyo!!!
To answer your question at the end, I think it could be helpful to see it from both perspectives, but I can see how it would be less confusing to think of the scale on its own first, and then kind of understand where it comes from or understand where it comes from, but without focusing on that so that you can just focus on the route note of whatever mode you happen to be playing in
I have a quick question I’m hoping you can help shed some light in it for me; and let me know if I have it correct lol: To my understanding the forms of the 5 positions that make the altered scale are the exact forms that make up the melodic minor scale but the difference is the notes/root we focus on and what we are essentially improvising on chord progression wise that give it its feel and sound? (more or less in a over simplistic way of thinking)
At the beginning i play scale just like scale , I dint care about what note i playing. But right now I started to apply a triads when i playing guitar . It is feel like better sound then before , i can discover more positions that i never play before ,and i can clearly add some notes for a example #4 b5 if I needed
Thank you for this video. I came across the altered scale before but the way you explained it made me finally understand it! Something I missed from the video however is one or two chord-diagrams to show you which altered chord you were playing. For example at 12:17 where you explain that the backing track is just an altered C7. It would be really helpfull to see the chord shape here.
Glad it was helpful! That chord shape at 12:17 is just a shell voicing, root, 3rd, and b7 (check out this video for more on shell voicings if interested: ua-cam.com/video/1AQNvYoG4_0/v-deo.html). It's a great example of how useful shell voicings are on dominant chords becuase it doesn't include the 5 it can be treated as altered or not, or any number of dominant interpretations. Otherwise you can take any normal dominant 7th chord voicing and either sharp the 5 or flat the 5 and that works well. Or play a shell voicing, then add the #9 or b9. Check out this video for more on how to do that: ua-cam.com/video/T6o4gzWWIQQ/v-deo.html. I hope that helps! -Jared ~~
Memorizing modes is a natural outgrowth of the chord/scale improvisation technique. In jazz, you would really only need Dorian, Myxolydian, Ionian, and Altered for most tasks. Where it becomes less useful is when the chords are coming at you fast, and improvisers are already throwing away the 2 chord in a 251, or other common simplifications. Then it makes some sense to throw out the idea of modes, as well.
I really like this approach to memorizing positions and jamming to get acquainted. I'm definitely going to incorporate this into my practice. Also, I guess I had captions enabled and your tone+playing keeps making youtube display captions like "baby" when you're playing. I guess that just speaks to that nice thick jazzy tone you're getting out of that tele!
Hi Jared, I admit I'm a bit lost in choosing between playing the related jazz minor scale or the altered scale but what I like about playing the actual altered scale is that for instance when you see a Bb7 chord you don't need to think a half step above and play the jazz minor scale. It's logically quicker. You get to think less while playing. What do you guys think?
i agree this is easier to understand without more music theory crammed in your head. most of the time i play an altered chord using triads and running the altered scale around the triad forms. i seems to be easier that way, if you know your triad chord inversions.
This is an excellent video, Jared. To answer your specific question, I think I've (subconsciously) favored your approach to playing/hearing scales/modes in relation to their respective roots, though it was certainly handy to master the basic standard diatonic scale shapes and have those in my back pocket as well (just as more of a geometric or mechanical framework). Moving past that simple standard diatonic framework, though, I think I'd only want to invest in learning/hearing scales as they relate to their roots. That being said, it is tempting to approach the altered scale's geometry like an Ionian (major) scale with the root being a #1.
Mixolydian triad b7 There is a term of minus and positive The dots on guitar are positive and the spaces are negative If you do g mixolydian staying on 6 string 3rd fret All notes are on dots This is western due to spaces in-between notes The Arabic scale is a 2 3 2 With all notes joined with no spaces . If you look at mixolydian scale of 9 notes you can see 2 sets of 6 notes Use question and answer technique move between both sixes or cylinder shape which is the run scale if starting counting cylinder first note 2 Dorian is the main run as it starts and finishes on the tonic slide 2 frets do four notes slide . Don't forget slide up 1 owhen going to string two and hey presto we getting somewhere ? Pretty simple when understood. The B2 is related to phygian 3 5 is mixolydian and 7 the black hole locrian which the alternative scale should include the devil note. I've been looking at phygian and deleting the spaces by 1 to get the oriental scale this alternative scale works well when using anything related to east music The more religious the less the spaces? Weird but think about it all those great riffs with the devil note combines the old scales with the new giving an edge of virsitility. Quite often when I mention this way of thinking and playing to friends they look ate as they don't get it but when played to them in disguise example playing on phygian for 3 bars then hittimgbthe alternative scale for bar 4 workd womdets.
Hi Jared. I agree with the root of the scale approach. Rather that moving a patent scales. Because you interiorise better this way the sound and colours of the scale. That said, it is too basic to land or start from the root every time. I try to avoid that to be less predictive. Nice lesson.
I started going through the modes of a scale I’m working with. So we’re on Melodic minor, I like to start on each degree and play through the scale like it is its own. Dorian b2, Lydian Augmented, Lydian dominant, Mixo b6 and so on. I think it’s pretty cool to get that feel and sound down. Even if I never use it, it’s still cool to know. Also, when I’m going through those modes of Harmonic or Melodic, it’s so much easier for me to just carve my own paths instead of looking up their patterns and positions.
@@soundguitar Do you have a favorite mode to experiment and mess around with? I love to add a little crunch/distortion, reverb and creep around in Phrygian Dominant haha.
@@markgoodwin5306 I don't have a favorite per se, just depends on what I'm working on and also what mood I'm in - I love some good lydian dominant sounds when appropriate. Phrygian dominant would definitely be a great scale to creep around on with some reverb and crunch :)
Thanks for this. Nice job. I found this more accessible than the first 4 or 5 videos I watched on this subject, which soared over my head pretty quickly. As to your query, I doubt there's a right answer without context. In other words, the "right" answer for each of us depends on our imperatives/objectives. And as well , what we do and do not already know/understand. Because we'll be growing our knowledge _from_ what we already understand. So if you already have harmonic minor scales under your fingers, that's the shortest "route in." I am like you in that to "hear" the scale and its feel, I have to start by experiencing it "root to root." I can't REALLY play a scale until I can feel it like that. To me, very little sounds worse than playing the notes of a scale without a feel for it. That's like speaking out loud the words of a foreign language you do not understand. There's no inflection, and you're like a monkey on a typewriter. My preference in beginning to understand any new scale is to first see it described as the intervals from one note to the next, starting with the root . . . which for me is the most direct way to get me to plying it on one string so I try to start feeling it. And then I want to hear it in a couple of very simple contexts.
So a question I've thought about with the Altered scale is, "Wouldn't it really work best on a chord that had both 5 and 9 altered?" It seems like playing a P5 on the chord (say, C7#9) and then soloing in Altered would create a more dissonant sound with the b5 (#4) and #5 (b6). Theoretically, it just seems like maybe Mixolydian #2 or even Hungarian Major (Mixolydian #2#4) might sound more consonant? You could also maybe view Phrygian Dominant (Mixolydian b2b6) as more consonant on a C7b9?
Good thoughts! An altered chord does have both 5 and 9 altered and that's the most appropriate or obvious place to use the altered scale. As for using it on dominant chords that aren't fully altered, it still totally works and is done quite often, and the scales you mentioned work well too - just depends on what one wants to hear while playing :)
Jared is this the same diminished scale used in Jazz/blues sometimes used going from the I chord to the Four chord? trying to get a handle on this concept. Thanks much I like the shell approach it makes more sense to me.
Thanks, Victor! You can find the scale diagrams on my site here: www.soundguitarlessons.com/blog/Altered-Scales-Explained+All-5-altered-dominant-scale-guitar-patterns-super-locrian
I absolutely agree with your view - seems more logical to me too. When I'm in a certain mode I focus on the mode and not it's parent scale/mode. The parent scale only comes back to my mind when I run out of ideas in the mode itself.
So an altered cord doesn’t have to have both a five and a nine does it? If I’m understanding correctly, an altered chord is basically a dominant seven with either a sharp nine or a flat nine or a sharp five or a flat five. And can it be any permutation? It’s never going to have a #5 and a b5, right?
In the video, it was stressed that when you play a scale or practice a scale, you should always focus on the root note and I couldn’t figure out what the route was of the PDFs. I downloaded the pdfs pentatonic exercises and what key are they in? Is it in A? They don’t end on the A or start on the A. Has anybody else downloaded the PDFs and knows what the route is supposed to be of the exercises? Thanks in advance.😊
Good question! Those pentatonic scale patterns can be done over any chord that the scale itself works over - so the root could be any number of options depending on the chord or key one plays the melodic pattern over. If you play it over A minor then 'A' is the root, but you can play it over C major instead and then 'C' would be root. Hope that helps. Thanks for brining it up.
@@soundguitar Thanks. I just thought it was designed for a specific key and obviously if one thinks in terms of modes any point can be the root. (Hopefully someday the AI will understand through context that we are talking about music and the voice -to-text will spell “root’ instead of “route” 🙄)
@@soundguitar If someone says otherwise then I feel its wrong,You have to think of modes as their own entity and the chord or chord progression that surrounds it .Yes they come from the parent scale but the mode is home base.
@@soundguitar thanks man. And thanks for these tutorials I come back to yours more than anyone else's and I always look forward to/get excited for the new ones.
It's a wrist band and I put it there to dampen the harmonics/overtones that ring from the strings above the nut. just makes things slightly cleaner. people use scrunchies too, or anything. -Jared
Haha, great question! Never considered it, but it wouldn't work the same way and would end up bleeding into other chord types altogether. Certainly worth playing around with and experimenting with as theoretical exploration though. :) -Jared
Thanks! I play on the neck pickup, use gauge 10 string, angle my pick upward towards my left shoulder, and play mostly very lightly. I hope that helps! -Jared
So how are you supposed to know which notes to even play if an altered chord can have a flat nine or a sharp five or a flat, nine or a sharp nine? An altered cord doesn’t have all of them right? Like a G7 altered isn’t a dominant seven with a sharp five a flat five a sharp nine and a flat nine is it? and I’ve been looking to see if you make cords out of each position of the altered scale what chords come out of it and I think I got it right but one of them sounded weird to me and it was the minor seven. Is there a minor seven? If you make cords out of the altered scale? I’ve only been doing cord construction for a little while, as far as making a chord scale out of a certain scale. And if I’m correct, it’s just basically every other note added together to make a cord. And I was wondering if we use every note of a particular scale, or does it always just stop after three as in a triad from a major scale? You can totally extend it out all the way to the end, right? Great lesson.😊
Firstly, I don’t think there’s a way to ‘know’ which interval to land on or target.. you pick which sound you want This is where ear training is important.. for example- if you play Amin; can you hear the b note on top? The major9 interval? You must train your ear to hear b5 and #5. b7 and b9.. target them and get used to what they sound like when you land on them.. Then it’s all personal preference after that! Secondly, The 2nd mode of melodic minor (parent scale of super locrian/ altered scale) has a minor7 chord Dorian b2 :) hope this helped! Edit: thanks Jared and sound guitar for hosting my Ted talk on your UA-cam short
Also yes you’re exactly right about building chords!! If you look at a piano and try the same concept, it is very visual and obvious. Don’t just stop at 3 notes! You can extend chords all the way through the scale (and BEYOND the scale!!! Just keep playing in thirds! The extra notes passed the triad are called the chord extensions.. so good word choice lol! Again, piano is really easy to visualize this concept. Edit: typo
you can do whatever you want ;) However yea it probably won’t sound good over non tension sounding chords unless you it’s a vamp. If the 6 chord is dom7 or altered in your 2-5-1-6 then use it over that as well! But I suggest phyrigian dominant for the 6 chord (harmonic minor but using Jared’s root-root method) Not trying to go all crazy here but a V-I relationship really has the power in music The power to make any chord sound like the tonic center. Look into it, it’s really powerful in improvising jazz Also Jared ‘root-root method’ is like, jazz GOLD So many people want the life hack of learning 3 scales and knowing it all.. but I tried it that way and we humans are just not smart enough to multitask like that Thinking next chord is A7 so I will play Harmonic minor based off the 4th of my chord and by the time you find it on the neck, the band has played 3 more songs and the drummer is almost finished packing up. Singers already home and curled up on the couch with a book. Anyways cheers Jared!! Adding altered to my repertoire after learning a bit of lydian dominant!
Just to add one last thing 2-5-1-6 is diatonic unless you changed something There are SO many ‘outside’ sounds in a diatonic progression you can access without actually learning anything new, just using chord shapes Check out chord substitutions and don’t think of it as a rhythm lesson.. play that shit in your leads my brother For example a common and beautiful substitution is the minor4 chord instead of a V So instead of Gdom7 you could play F minor/maj7. This one is nice because phrasing.. whatever you play over the 2 chord just move up 3 frets and play the same thing. Boom instant phrasing legend Or you can tritone sub out the V (G7) and play the chord tones from Db You could also go the larry Carlton way and just think about extensions.. that way you stay root-root which is most powerful Anyways cheers!
So say you’re looking at a song book and you see without a cord chart just a simple “Calt” how are you supposed to know whether to put a flat five or a sharp five or a flat nine or a sharp nine or a flat five and a sharp nine or a sharp nine and a flat 5 etc.? What are all the possible forms of an altered chord. That’s the one thing I’ve been trying to figure out that no one seems to say exactly. If the song book says “Calt” does that mean it’s up to you to put whatever types of fives or nines in there as long as it’s not a natural nine or a natural five? Please help!😢
Yes exactly! you said it perfectly. It's totally up to you: "it’s up to you to put whatever types of fives or nines in there as long as it’s not a natural nine or a natural five"
@soundguitar I just typed an essay to answer a similar question about 4 comments above this JUST to find out you already answered here! I am relieved that you share the same opinion.. it’s like, reassurance you know.. Ahh it feels nice
Regarding the Q: I’m defo parental scale fella. Possibly because I’m too thick and lazy to think the other way😂 But also because I’m a visual, intuitive rather than a clever sausage!)
I say forget the parent scale theory. think as a separate scale because if you don't know of a melodic minor scale and you stumble across this video it beomes too confusing and to much to think about.
I know a lot of online guitar teachers want to treat each “mode” as a separate scale, presumably to acknowledge where the 7th, 5th and 3rd are within each scale. However, being really familiar with the major scale, having spent a lot of time figuring it out all over the fretboard, seems to be shameful to throw that knowledge away.
I personally like to treat each mode as a separate scale, but certainly a lot of people don't do it that way and they think of the parent scale for everything. There's no right or wrong way to do it, just whatever works for each person. And the major scale is still the most common and most useful scale by far, even if one thinks of all modes separately, so it's definitely not throwing it away
try a mix of both! For diatonic changes your ear should be able to bring you to all the chord tones and you won’t have to think as much Then for non diatonic chords just plug in your exotic scale :)
Personally I think major scale, PLUS harmonic minor, Phrygian dominant, melodic minor, lydian dominant, and altered scale will you get 99% of sounds you could be looking for! 7th arpeggios on the root and 2nd degree of each scale and now you have both linear and horizontal access to all these sounds
You're making up jazz theory. The melodic minor/super loc scale is based on the diminished scale and it's double dominant/m7b5 relationship. Basically, you're ignoring the Dominant 7th and it's diminished triads. There are 7 super Locrian and one altered scale(s) playable for the Dominant 7th chord; 4 diatonic Locrian, 8 ultra locrian, and 2 (of the three) diminished scales.
➡ FREE PDF: Top 3 Pentatonic Scale Patterns for more melodic soloing ➡ bit.ly/3lIQujx
This was a really helpful lesson. Your diagrams of the five positions of the scale emphasising the ‘root to root’ system, makes this so much more understandable. Playing this scale over a backing track is the icing on the cake.
This is the clearest explanation of altered scales I've encountered. Thanks!
Matagal nakong naghahanap ng mga lesson sa jazz na maiintindihan ko nang mas madali, at sa wakas nahanap ko rin yung channel mo sir!!! Salamat nang marami at God bless sa inyo!!!
Glad to have you here! Thanks so much. Cheers, ~~ Jared
To answer your question at the end, I think it could be helpful to see it from both perspectives, but I can see how it would be less confusing to think of the scale on its own first, and then kind of understand where it comes from or understand where it comes from, but without focusing on that so that you can just focus on the route note of whatever mode you happen to be playing in
U are awesome. For years trying figure out those unusual phrases and u brought it out so clearly. Thank u sir.
Yes Sir!!! I do agree with using the modes from every parent scale and treating them as unique flavor, thank you for the video, great lesson.
Right on! :) Cheers -Jared
I have a quick question I’m hoping you can help shed some light in it for me; and let me know if I have it correct lol: To my understanding the forms of the 5 positions that make the altered scale are the exact forms that make up the melodic minor scale but the difference is the notes/root we focus on and what we are essentially improvising on chord progression wise that give it its feel and sound? (more or less in a over simplistic way of thinking)
Yep, that's absolutely correct! :)
Thank you so much for the quick response. Thank you. That helps break it down for me pretty well thank you lol
At the beginning i play scale just like scale , I dint care about what note i playing. But right now I started to apply a triads when i playing guitar . It is feel like better sound then before , i can discover more positions that i never play before ,and i can clearly add some notes for a example #4 b5 if I needed
Thanks bro....informative.....just starting to learn modes last few months.
Right on! glad to hear it cheers, Jared
Thank you for this video. I came across the altered scale before but the way you explained it made me finally understand it!
Something I missed from the video however is one or two chord-diagrams to show you which altered chord you were playing. For example at 12:17 where you explain that the backing track is just an altered C7. It would be really helpfull to see the chord shape here.
Glad it was helpful! That chord shape at 12:17 is just a shell voicing, root, 3rd, and b7 (check out this video for more on shell voicings if interested: ua-cam.com/video/1AQNvYoG4_0/v-deo.html). It's a great example of how useful shell voicings are on dominant chords becuase it doesn't include the 5 it can be treated as altered or not, or any number of dominant interpretations. Otherwise you can take any normal dominant 7th chord voicing and either sharp the 5 or flat the 5 and that works well. Or play a shell voicing, then add the #9 or b9. Check out this video for more on how to do that: ua-cam.com/video/T6o4gzWWIQQ/v-deo.html. I hope that helps! -Jared ~~
Memorizing modes is a natural outgrowth of the chord/scale improvisation technique. In jazz, you would really only need Dorian, Myxolydian, Ionian, and Altered for most tasks.
Where it becomes less useful is when the chords are coming at you fast, and improvisers are already throwing away the 2 chord in a 251, or other common simplifications. Then it makes some sense to throw out the idea of modes, as well.
I love your videos. Thank you for maximizing content without clickbait!
Glad you like them! Thanks!! :)
I really like this approach to memorizing positions and jamming to get acquainted. I'm definitely going to incorporate this into my practice. Also, I guess I had captions enabled and your tone+playing keeps making youtube display captions like "baby" when you're playing. I guess that just speaks to that nice thick jazzy tone you're getting out of that tele!
HAHA I didn't know about the captions saying "baby" because of the guitar playing. That's hilarious :) Cheers, and glad you liked the video -Jared
That slide on 13:20 tho ❤
Hi Jared, I admit I'm a bit lost in choosing between playing the related jazz minor scale or the altered scale but what I like about playing the actual altered scale is that for instance when you see a Bb7 chord you don't need to think a half step above and play the jazz minor scale. It's logically quicker. You get to think less while playing. What do you guys think?
i agree this is easier to understand without more music theory crammed in your head. most of the time i play an altered chord using triads and running the altered scale around the triad forms. i seems to be easier that way, if you know your triad chord inversions.
I dig it! Thanks for sharing.
This is an excellent video, Jared. To answer your specific question, I think I've (subconsciously) favored your approach to playing/hearing scales/modes in relation to their respective roots, though it was certainly handy to master the basic standard diatonic scale shapes and have those in my back pocket as well (just as more of a geometric or mechanical framework). Moving past that simple standard diatonic framework, though, I think I'd only want to invest in learning/hearing scales as they relate to their roots. That being said, it is tempting to approach the altered scale's geometry like an Ionian (major) scale with the root being a #1.
Mixolydian triad b7
There is a term of minus and positive
The dots on guitar are positive and the spaces are negative
If you do g mixolydian staying on 6 string 3rd fret
All notes are on dots
This is western due to spaces in-between notes
The Arabic scale is a 2 3 2
With all notes joined with no spaces
.
If you look at mixolydian scale of 9 notes you can see 2 sets of 6 notes
Use question and answer technique move between both sixes or cylinder shape which is the run scale if starting counting cylinder first note 2 Dorian is the main run as it starts and finishes on the tonic slide 2 frets do four notes slide .
Don't forget slide up 1 owhen going to string two and hey presto we getting somewhere ?
Pretty simple when understood.
The B2 is related to phygian
3 5 is mixolydian and 7 the black hole locrian which the alternative scale should include the devil note.
I've been looking at phygian and deleting the spaces by 1 to get the oriental scale this alternative scale works well when using anything related to east music
The more religious the less the spaces?
Weird but think about it all those great riffs with the devil note combines the old scales with the new giving an edge of virsitility.
Quite often when I mention this way of thinking and playing to friends they look ate as they don't get it but when played to them in disguise example playing on phygian for 3 bars then hittimgbthe alternative scale for bar 4 workd womdets.
Great Jared 👍🏼
got a gig in a few weeks and a lot of this lesson is getting lifted , thanks !
Great to hear that Lovat! Can't wait to hear how the gig goes :)
You are a great teacher! Thank You.
Hi Jared, yes I agree, I look at each mode as it’s own scale.
Right on Chris! Thanks
Hi Jared.
I agree with the root of the scale approach. Rather that moving a patent scales.
Because you interiorise better this way the sound and colours of the scale.
That said, it is too basic to land or start from the root every time. I try to avoid that to be less predictive.
Nice lesson.
I started going through the modes of a scale I’m working with. So we’re on Melodic minor, I like to start on each degree and play through the scale like it is its own. Dorian b2, Lydian Augmented, Lydian dominant, Mixo b6 and so on. I think it’s pretty cool to get that feel and sound down. Even if I never use it, it’s still cool to know. Also, when I’m going through those modes of Harmonic or Melodic, it’s so much easier for me to just carve my own paths instead of looking up their patterns and positions.
Right on, Mark! That's great practice!! keep it up :)
@@soundguitar Do you have a favorite mode to experiment and mess around with? I love to add a little crunch/distortion, reverb and creep around in Phrygian Dominant haha.
@@markgoodwin5306 I don't have a favorite per se, just depends on what I'm working on and also what mood I'm in - I love some good lydian dominant sounds when appropriate. Phrygian dominant would definitely be a great scale to creep around on with some reverb and crunch :)
Thanks for this. Nice job. I found this more accessible than the first 4 or 5 videos I watched on this subject, which soared over my head pretty quickly.
As to your query, I doubt there's a right answer without context. In other words, the "right" answer for each of us depends on our imperatives/objectives. And as well , what we do and do not already know/understand. Because we'll be growing our knowledge _from_ what we already understand. So if you already have harmonic minor scales under your fingers, that's the shortest "route in."
I am like you in that to "hear" the scale and its feel, I have to start by experiencing it "root to root." I can't REALLY play a scale until I can feel it like that. To me, very little sounds worse than playing the notes of a scale without a feel for it. That's like speaking out loud the words of a foreign language you do not understand. There's no inflection, and you're like a monkey on a typewriter.
My preference in beginning to understand any new scale is to first see it described as the intervals from one note to the next, starting with the root . . . which for me is the most direct way to get me to plying it on one string so I try to start feeling it.
And then I want to hear it in a couple of very simple contexts.
I agree with everything you said here. Great thoughts, thanks for sharing, Brian! :) Cheers, ~~ Jared
So a question I've thought about with the Altered scale is, "Wouldn't it really work best on a chord that had both 5 and 9 altered?" It seems like playing a P5 on the chord (say, C7#9) and then soloing in Altered would create a more dissonant sound with the b5 (#4) and #5 (b6). Theoretically, it just seems like maybe Mixolydian #2 or even Hungarian Major (Mixolydian #2#4) might sound more consonant? You could also maybe view Phrygian Dominant (Mixolydian b2b6) as more consonant on a C7b9?
Good thoughts! An altered chord does have both 5 and 9 altered and that's the most appropriate or obvious place to use the altered scale. As for using it on dominant chords that aren't fully altered, it still totally works and is done quite often, and the scales you mentioned work well too - just depends on what one wants to hear while playing :)
Jared is this the same diminished scale used in Jazz/blues sometimes used going from the I chord to the Four chord? trying to get a handle on this concept. Thanks much I like the shell approach it makes more sense to me.
Great lesson! I don’t see a PDF of the altered scale positions, did you post one?
Thanks, Victor! You can find the scale diagrams on my site here: www.soundguitarlessons.com/blog/Altered-Scales-Explained+All-5-altered-dominant-scale-guitar-patterns-super-locrian
Very good content ,easy to understand
Glad to hear that, thanks! :)
I absolutely agree with your view - seems more logical to me too. When I'm in a certain mode I focus on the mode and not it's parent scale/mode. The parent scale only comes back to my mind when I run out of ideas in the mode itself.
Glad you agree - I do the same thing with the parent scale, to get different ideas out. :)
So an altered cord doesn’t have to have both a five and a nine does it? If I’m understanding correctly, an altered chord is basically a dominant seven with either a sharp nine or a flat nine or a sharp five or a flat five. And can it be any permutation? It’s never going to have a #5 and a b5, right?
Awesome thanks for the lesson
My pleasure!
In the video, it was stressed that when you play a scale or practice a scale, you should always focus on the root note and I couldn’t figure out what the route was of the PDFs. I downloaded the pdfs pentatonic exercises and what key are they in? Is it in A? They don’t end on the A or start on the A. Has anybody else downloaded the PDFs and knows what the route is supposed to be of the exercises? Thanks in advance.😊
Good question! Those pentatonic scale patterns can be done over any chord that the scale itself works over - so the root could be any number of options depending on the chord or key one plays the melodic pattern over. If you play it over A minor then 'A' is the root, but you can play it over C major instead and then 'C' would be root. Hope that helps. Thanks for brining it up.
@@soundguitar Thanks. I just thought it was designed for a specific key and obviously if one thinks in terms of modes any point can be the root. (Hopefully someday the AI will understand through context that we are talking about music and the voice -to-text will spell “root’ instead of “route” 🙄)
Yes I like to think as a mode as its own island based off the root, not the parent scale.
Nice! So I'm not alone :)
@@soundguitar If someone says otherwise then I feel its wrong,You have to think of modes as their own entity and the chord or chord progression that surrounds it .Yes they come from the parent scale but the mode is home base.
@@mindcontrol67 Agreed :)
What string Guage do you use on your Tele?
10s :)
@@soundguitar thanks man.
And thanks for these tutorials I come back to yours more than anyone else's and I always look forward to/get excited for the new ones.
What is this black thing on the guitar neck? What is it for?
It's a wrist band and I put it there to dampen the harmonics/overtones that ring from the strings above the nut. just makes things slightly cleaner. people use scrunchies too, or anything. -Jared
What happens if you apply "mangling" to other scale degrees?
Haha, great question! Never considered it, but it wouldn't work the same way and would end up bleeding into other chord types altogether. Certainly worth playing around with and experimenting with as theoretical exploration though. :) -Jared
Here from MFG!
Yay, welcome! :)
How do you get that nice tone from your Tele? It has a kind of jazz sound to it.
Thanks! I play on the neck pickup, use gauge 10 string, angle my pick upward towards my left shoulder, and play mostly very lightly. I hope that helps! -Jared
So how are you supposed to know which notes to even play if an altered chord can have a flat nine or a sharp five or a flat, nine or a sharp nine? An altered cord doesn’t have all of them right? Like a G7 altered isn’t a dominant seven with a sharp five a flat five a sharp nine and a flat nine is it? and I’ve been looking to see if you make cords out of each position of the altered scale what chords come out of it and I think I got it right but one of them sounded weird to me and it was the minor seven. Is there a minor seven? If you make cords out of the altered scale? I’ve only been doing cord construction for a little while, as far as making a chord scale out of a certain scale. And if I’m correct, it’s just basically every other note added together to make a cord. And I was wondering if we use every note of a particular scale, or does it always just stop after three as in a triad from a major scale? You can totally extend it out all the way to the end, right? Great lesson.😊
Firstly, I don’t think there’s a way to ‘know’ which interval to land on or target.. you pick which sound you want
This is where ear training is important.. for example- if you play Amin; can you hear the b note on top? The major9 interval?
You must train your ear to hear b5 and #5. b7 and b9.. target them and get used to what they sound like when you land on them..
Then it’s all personal preference after that!
Secondly,
The 2nd mode of melodic minor (parent scale of super locrian/ altered scale) has a minor7 chord
Dorian b2 :)
hope this helped!
Edit: thanks Jared and sound guitar for hosting my Ted talk on your UA-cam short
Also yes you’re exactly right about building chords!!
If you look at a piano and try the same concept, it is very visual and obvious.
Don’t just stop at 3 notes! You can extend chords all the way through the scale (and BEYOND the scale!!!
Just keep playing in thirds! The extra notes passed the triad are called the chord extensions.. so good word choice lol!
Again, piano is really easy to visualize this concept.
Edit: typo
Your playing in this video is giving me Wes vibes!
haha Thanks Adam! :)
If I'm doing 2-5-1-6, can I only really use this scale over the 5?
you can do whatever you want ;)
However yea it probably won’t sound good over non tension sounding chords unless you it’s a vamp.
If the 6 chord is dom7 or altered in your 2-5-1-6 then use it over that as well!
But I suggest phyrigian dominant for the 6 chord (harmonic minor but using Jared’s root-root method)
Not trying to go all crazy here but a V-I relationship really has the power in music
The power to make any chord sound like the tonic center. Look into it, it’s really powerful in improvising jazz
Also Jared ‘root-root method’ is like, jazz GOLD
So many people want the life hack of learning 3 scales and knowing it all.. but I tried it that way and we humans are just not smart enough to multitask like that
Thinking next chord is A7 so I will play Harmonic minor based off the 4th of my chord and by the time you find it on the neck, the band has played 3 more songs and the drummer is almost finished packing up. Singers already home and curled up on the couch with a book.
Anyways cheers Jared!! Adding altered to my repertoire after learning a bit of lydian dominant!
Just to add one last thing
2-5-1-6 is diatonic unless you changed something
There are SO many ‘outside’ sounds in a diatonic progression you can access without actually learning anything new, just using chord shapes
Check out chord substitutions and don’t think of it as a rhythm lesson.. play that shit in your leads my brother
For example a common and beautiful substitution is the minor4 chord instead of a V
So instead of Gdom7 you could play F minor/maj7. This one is nice because phrasing.. whatever you play over the 2 chord just move up 3 frets and play the same thing. Boom instant phrasing legend
Or you can tritone sub out the V (G7) and play the chord tones from Db
You could also go the larry Carlton way and just think about extensions.. that way you stay root-root which is most powerful
Anyways cheers!
So say you’re looking at a song book and you see without a cord chart just a simple “Calt” how are you supposed to know whether to put a flat five or a sharp five or a flat nine or a sharp nine or a flat five and a sharp nine or a sharp nine and a flat 5 etc.? What are all the possible forms of an altered chord. That’s the one thing I’ve been trying to figure out that no one seems to say exactly. If the song book says “Calt” does that mean it’s up to you to put whatever types of fives or nines in there as long as it’s not a natural nine or a natural five? Please help!😢
Yes exactly! you said it perfectly. It's totally up to you: "it’s up to you to put whatever types of fives or nines in there as long as it’s not a natural nine or a natural five"
@soundguitar I just typed an essay to answer a similar question about 4 comments above this JUST to find out you already answered here!
I am relieved that you share the same opinion.. it’s like, reassurance you know..
Ahh it feels nice
How on earth are you making the top strings on that tele sound so thicccc
What do you use to make chord diagrams?
Check out his video series! He has a video(from last week I believe )which answers that very question. It’s super helpful. Enjoy
Check out this video: ua-cam.com/video/6rU9rUYnj7U/v-deo.html - great free tool for making diagrams. I also use Chordpic.com sometimes
@@rreyes3000 Thanks, Ruben! :)
Regarding the Q: I’m defo parental scale fella. Possibly because I’m too thick and lazy to think the other way😂 But also because I’m a visual, intuitive rather than a clever sausage!)
I say forget the parent scale theory. think as a separate scale because if you don't know of a melodic minor scale and you stumble across this video it beomes too confusing and to much to think about.
I know a lot of online guitar teachers want to treat each “mode” as a separate scale, presumably to acknowledge where the 7th, 5th and 3rd are within each scale. However, being really familiar with the major scale, having spent a lot of time figuring it out all over the fretboard, seems to be shameful to throw that knowledge away.
I personally like to treat each mode as a separate scale, but certainly a lot of people don't do it that way and they think of the parent scale for everything. There's no right or wrong way to do it, just whatever works for each person. And the major scale is still the most common and most useful scale by far, even if one thinks of all modes separately, so it's definitely not throwing it away
try a mix of both!
For diatonic changes your ear should be able to bring you to all the chord tones and you won’t have to think as much
Then for non diatonic chords just plug in your exotic scale :)
Personally I think major scale, PLUS harmonic minor, Phrygian dominant, melodic minor, lydian dominant, and altered scale will you get 99% of sounds you could be looking for!
7th arpeggios on the root and 2nd degree of each scale and now you have both linear and horizontal access to all these sounds
Apparently there 2 million 3 hundred thousand and 33 scales, I know 1 so far
I know the feeling
You're making up jazz theory. The melodic minor/super loc scale is based on the diminished scale and it's double dominant/m7b5 relationship. Basically, you're ignoring the Dominant 7th and it's diminished triads.
There are 7 super Locrian and one altered scale(s) playable for the Dominant 7th chord; 4 diatonic Locrian, 8 ultra locrian, and 2 (of the three) diminished scales.
en.wikipedia.org/wiki/Altered_scale
modes are useless. waste of time. Jens is correct.