This guy gives the best explanations I've come across. The content-given-to-time-spent ratio is off the charts. And he has HOURS of this stuff on the web. And it's FREE. Anyone with a computer has no excuse for not having solid foundation in jazz guitar technique and theory. Mr. Fisher: YOU DA MAN!
Great lesson! Very concise and easy to understand. I do want to add some supplementary info for anyone who happens to stumble across this comment: When people say “altered,” they generally have a very specific harmonic color in mind, derived from the melodic minor scale. The most common voicings of altered chords (drawing notes from the 7th mode of the melodic minor scale) are 7(#9b13), 7(b9b13), 7(b9#11), etc. As you can see, a huge part of the altered sound is the altered 9th-either #9 or b9, or both. The chords covered in this video would be derived, not from the altered scale, but from the whole tone scale, which supplies a different but equally useful palette of colors to use on dominant chords. The nomenclature that these chords would be applied to would more often be C9(b13) or C7(b13) or (#5)-this is not the same as altered, because you have the natural 9th. Now, I’m a firm believer that you can make anything sound good if you know what you’re doing and follow your ears. I just wanted to shed a little light on this from a “by the book” standpoint. There does often need to be a distinction between different dominant colors, because someone could put a Db or Eb in the melody of a dominant chord, and if you grab one of these voicings that has a D natural in it, that might not sound the best. Happy practicing! :)
Thanks much. This is like discovering a stash of gold in your basement after living in a house for 40 years. Coolest concept I have encountered of some time. Now I know what to do with 7b5 chords.
God bless you! I have never had a teacher, but I know how much a good one can change your life. Thank you thank you thank you thank you thank you thank you
I've studied your excellent books, and this is another gold nugget to add to all the great material you provide. Greatly appreciated, Mr Fisher. Thank you for so unselfishly sharing your vast knowledge with us. 🎸👍👍👍
This is simply awesome I should say. This goes to show how can a simple pattern opens up a whole musical universe. Thanks for sharing your experience Jody.
Great lesson, many thanks Jody. After thinking about this for a day (little slow on the up take I am) I realized that because you're moving in whole steps, that means that one trip up the fretboard works for SIX DIFFERENT Dom7 chords and moving up a half step and again going up/down the board works on the remaining six Dom 7 chords. I've been playing with this just using triads that contain (any mixture of) R, 9, 3, b5, b13 and 7th You're going up and down using the Whole Tone scale and any "shape" or triad that you use for G7 also works for A7, B7 C#7/Db7, D#7/Eb7 and F7. Move up one fret and begin F#/Gb7, G#7/Ab7, Bb7, C7, D7 and E7. If you want to use this for soloing, take off from any note you choose using a whole tone scale (and add chromatics) and off you go/ p.s. Jody's CD Impromtu is fantastic; perhaps the best solo guitar playing I've ever heard!
Just wanted to say I absolutely love your books and these quick tips. I learned a lot from you and I gotta say you're probably one of the best guitar tutors ever. Have a great day
Great lesson! These are chords built on the whole-tone scale in which everything repeats at a whole step. The same concept works for diminished chords except it repeats at intervals of minor 3rds.
Six possibilities of transposition because this chord has the interval pattern 4+2 semitones or 2+4 semitones. 2+4 or 4+2 equals 6 and 6 semitones is a tritone, interval which divides the octave in two equal parts (12/6 = 2). All interval patterns based on 6 (2+4, 4+2, 1+5, 5+1, 2+3+1, etc) have 6 possibilities of transposition. Great lesson as usual. Greetings from Bogotá, Colombia.
Hi Jody, great to find you over here. I'm a saxophone and flute player, but I decided to approach to gutar from zero. I found your link the best one to learn among many. Thank you so much. :)
Amazing. This chord is like a dim7 in that any tone can be the root. And it sounds great like the dim7 as you move it a step up or down. Jody is a genius. Love his lessons.
Hey Jody - I don't mean to second guess here, but I think you may have mis-spoken at 1:10 of the video, you state the spelling of a C7b5 chord is , as fingered, E, Bb, C, and G. It does appear you are fingering, and I think you meant to say, that you need an F# or Gb on top. I may be wrong, but considering the "altered" nature of the demonstration, you would want a b5 in the chord. Fantastic info regardless. - Joe
The only problem I see would be improvising over these chords. Unless you were just to use arpeggios you would be stuck using either the Lydian Dominant on the voicings without the #5 or the Whole Tone. You really couldn’t use the Altered scale except on the original root position voicings because of the natural 9.
Usually, when i see someone explaining something i could use in youtube i end up looking at how much time i have watch, and how much is left. In those cases a 7 minute video just seems to be too long, when i see/hear Jody it's like, WOW did i really just watch 7 minutes?
C9(b5#5) is a common altered dominant chord--most folks would label it C9(b5b13), however. It certainly is possible to have a D and an altered D in the same chord--it all depends on how you voice it.....
Wait....im confused...When you spelled out the c7b5 chord at the start you said G was the b5. I think you meant to say G flat and it appears your finger is on the G flat. Correct?
This confused me too. He's using a weird fingering that makes it look like G flat. But it's G. I find using my pinky for the G and my ring finger for the B flat more comfortable. I wonder why he uses this fingering, I'm sure he has a reason.
it depends of the alterations used ! if only the five altered whole tone scale. if 9 b +9 5 b the classic half step whole step. If you have the FOUR alterations you play R 9b +9 3M 5 b +5 7 it is called super locrian
The concept and practice of polytonality -2 chords at once- is fine- but the original chord must be there somewhere- hopefully provided by another guitar or piano, in order for the second chord to be valid, or have meaning as a contrast. Other wise the ear will ascribe whatever meaning it can to the chord. It will not hear it as a "flat 9, natural 13, flat 5, or whatever extentions you have in mind.
This guy gives the best explanations I've come across. The content-given-to-time-spent ratio is off the charts. And he has HOURS of this stuff on the web. And it's FREE. Anyone with a computer has no excuse for not having solid foundation in jazz guitar technique and theory. Mr. Fisher: YOU DA MAN!
Thank you, David...!
Great lesson! Very concise and easy to understand.
I do want to add some supplementary info for anyone who happens to stumble across this comment:
When people say “altered,” they generally have a very specific harmonic color in mind, derived from the melodic minor scale. The most common voicings of altered chords (drawing notes from the 7th mode of the melodic minor scale) are 7(#9b13), 7(b9b13), 7(b9#11), etc. As you can see, a huge part of the altered sound is the altered 9th-either #9 or b9, or both.
The chords covered in this video would be derived, not from the altered scale, but from the whole tone scale, which supplies a different but equally useful palette of colors to use on dominant chords. The nomenclature that these chords would be applied to would more often be C9(b13) or C7(b13) or (#5)-this is not the same as altered, because you have the natural 9th.
Now, I’m a firm believer that you can make anything sound good if you know what you’re doing and follow your ears. I just wanted to shed a little light on this from a “by the book” standpoint. There does often need to be a distinction between different dominant colors, because someone could put a Db or Eb in the melody of a dominant chord, and if you grab one of these voicings that has a D natural in it, that might not sound the best.
Happy practicing! :)
wow, i never knew of this concept this is amazing. thanks MR FISHER. your the teacher everyone needs .
This guy is giving gold nuggets in a no nonsense package. Thanks so much.
this is one of the best jazz guitar videos i've seen. in 7 minutes you actually get what's promised with no nonsense.
Thanks much. This is like discovering a stash of gold in your basement after living in a house for 40 years. Coolest concept I have encountered of some time. Now I know what to do with 7b5 chords.
Incredible. Mind blown. Thank you.
i love this gentleman 's style of play ...saw him on a clip with the great George Benson....He played awesome alongside Benson
Minimal input, maximum output. A true 'quick tip'! Thank you very much!
God bless you! I have never had a teacher, but I know how much a good one can change your life. Thank you thank you thank you thank you thank you thank you
Amazing stuff as always... much appreciated...
I've studied your excellent books, and this is another gold nugget to add to all the great material you provide. Greatly appreciated, Mr Fisher. Thank you for so unselfishly sharing your vast knowledge with us. 🎸👍👍👍
Great advice, mr. Fisher. Thank you for teaching us with your wonderful The Complete Jazz Guitar Method, which is the best guitar book ever created.
Incredible piece of musical information! Jody is a real teacher.
This is simply awesome I should say. This goes to show how can a simple pattern opens up a whole musical universe. Thanks for sharing your experience Jody.
Great lesson, many thanks Jody. After thinking about this for a day (little slow on the up take I am) I realized that because you're moving in whole steps, that means that one trip up the fretboard works for SIX DIFFERENT Dom7 chords and moving up a half step and again going up/down the board works on the remaining six Dom 7 chords. I've been playing with this just using triads that contain (any mixture of) R, 9, 3, b5, b13 and 7th You're going up and down using the Whole Tone scale and any "shape" or triad that you use for G7 also works for A7, B7 C#7/Db7, D#7/Eb7 and F7. Move up one fret and begin F#/Gb7, G#7/Ab7, Bb7, C7, D7 and E7. If you want to use this for soloing, take off from any note you choose using a whole tone scale (and add chromatics) and off you go/
p.s. Jody's CD Impromtu is fantastic; perhaps the best solo guitar playing I've ever heard!
Yep--you get it, Lester...have fun with that.....and thank you for your kind words about "Impromptu"....
Really excellent info.
Just wanted to say I absolutely love your books and these quick tips. I learned a lot from you and I gotta say you're probably one of the best guitar tutors ever. Have a great day
Thank you, Jakub.....!
Excellent material! One slight hickup.... when you're spelling the altered dominant chord at the beginning you said "G," but it's "Gb" the b5 of G.
Great lesson! These are chords built on the whole-tone scale in which everything repeats at a whole step. The same concept works for diminished chords except it repeats at intervals of minor 3rds.
Six possibilities of transposition because this chord has the interval pattern 4+2 semitones or 2+4 semitones. 2+4 or 4+2 equals 6 and 6 semitones is a tritone, interval which divides the octave in two equal parts (12/6 = 2). All interval patterns based on 6 (2+4, 4+2, 1+5, 5+1, 2+3+1, etc) have 6 possibilities of transposition.
Great lesson as usual. Greetings from Bogotá, Colombia.
Yep....
This is an awesome little trick. I’m more into blues and rock but I will definitely work this into transitions and for building tension. Thanks!
Hope you enjoy exploring....!
Great video. Thank you!! I am having a blast improvising over alt. dom. chords with the whole tone scale, and now it makes sense why it works so well.
Always something to learn from Jody. What a fab tip
Hi Jody, great to find you over here. I'm a saxophone and flute player, but I decided to approach to gutar from zero. I found your link the best one to learn among many. Thank you so much. :)
A good bit of information for the vocab, awesome.
Straight forward, concise, understandable and informative.
Excellent!!
Great lesson, simple and concise, straight to the point ! Thank you, cheers !
Estoy agradecido por esto mr. Fisher!.
Eureka! I love it so much! Thanks for the marvelous insights.
Amazing. This chord is like a dim7 in that any tone can be the root. And it sounds great like the dim7 as you move it a step up or down. Jody is a genius. Love his lessons.
It has taken me a long time to get this under my fingers, but it sure does sound good and works really well. Thanks for this
You're welcome, Joe....
Thank You for the lesson, and as always , clearly explained.
Jody you are the best!!
Fantastic lesson!
Great! There is alot of awesome info in this small package
excelente forma de abrir el panorama armónico! Gracias Jody desde México.
Awesome. Thank you for sharing this.
Excellent lesson - thanks!
Top marks for content-vs-time ratio. Great info and explanation as well.
Thanks, Master Chain....
works with 9th chords man this is tremendously helpful
Very interesting & useful. Thank you!
Thanks a lot , Tonal Scale derived dominants, that could be the theory behind .
The quickest quick tips on youtube ;)
Amazing lesson!!
thx Jodie..good stuff..
Thanks, Tony!
feel silly not seeing this pattern before thanks a lot mr. fisher !
this is amazing!
like a hall of mirrors!
Awesome tip! This is similar to how diminished7 chords are symmetrical every 3 half steps which I use all the time!
Great voice-leading potential with this application of whole-tone moveable root chords.
Hey Jody - I don't mean to second guess here, but I think you may have mis-spoken at 1:10 of the video, you state the spelling of a C7b5 chord is , as fingered, E, Bb, C, and G. It does appear you are fingering, and I think you meant to say, that you need an F# or Gb on top. I may be wrong, but considering the "altered" nature of the demonstration, you would want a b5 in the chord. Fantastic info regardless. - Joe
Hi Joe--this was caught quite a few years ago--it was a verbal mistake.....but I'm happy you understood what I was trying to say.....JF
Thanks Jody!!!!
COOL!!
... I love you Jody!!! :) :) :)
Thanks...:-)
This video changed so much.
Excelente lección!
Nice!
vamooooooos peladooooo !!!
Excellent info. Ted Greene also mentioned this in his book "Chord Chemistry"
Thank you Thank youThank youThank you Thank you !
omg, that's insane!
How the hell does Jody find these gems!?
So it inverts without changing shape like a diminished chord except only a whole tone apart?
The only problem I see would be improvising over these chords. Unless you were just to use arpeggios you would be stuck using either the Lydian Dominant on the voicings without the #5 or the Whole Tone. You really couldn’t use the Altered scale except on the original root position voicings because of the natural 9.
Usually, when i see someone explaining something i could use in youtube i end up looking at how much time i have watch, and how much is left. In those cases a 7 minute video just seems to be too long, when i see/hear Jody it's like, WOW did i really just watch 7 minutes?
Billie Lee Ñan, I read your comment and suddenly had the same realisation! Hahaha
great, thanks, but, um, at 1:10, you mean G-flat, not G. A bit confusing.
Each Voicing from the WholeTone-Scale is moveable in whole steps.....
How is D supposed to fit in a C alt chord with Db or D# in it? So it's not really alt chord we're talking about but C9(b5#5)
C9(b5#5) is a common altered dominant chord--most folks would label it C9(b5b13), however. It certainly is possible to have a D and an altered D in the same chord--it all depends on how you voice it.....
Something wrong Gb is the flat 5 not G
Basic stuff
Wait....im confused...When you spelled out the c7b5 chord at the start you said G was the b5. I think you meant to say G flat and it appears your finger is on the G flat. Correct?
This confused me too. He's using a weird fingering that makes it look like G flat. But it's G. I find using my pinky for the G and my ring finger for the B flat more comfortable. I wonder why he uses this fingering, I'm sure he has a reason.
Still trying to figure out how it would work on sharp7th V chords xD
Hi jody is your book solo.over changes available in pdf that i can download? Thatnks
*9th chords without 5ths up whole steps - now have so many more resolutions!
Tristan chord?
that's great! what scales do we play over the alt. dom?
Melodic minor half a step up from the root. For example, if you have C7 you play Db melodic minor scale but starting on C i.e C Db Eb E Gb Ab Bb B C
A whole tone scale would also sound amazing.
Bobb Lockwood thanks God bless
it depends of the alterations used ! if only the five altered whole tone scale. if 9 b +9 5 b the classic half step whole step. If you have the FOUR alterations you play R 9b +9 3M 5 b +5 7 it is called super locrian
walter white?
Bro
Jody is the Chuck Norris of guitar.
1:09 G?
this has been corrected many times already....obviously...Gb...
Every one and a half steps my lips smack again in a different order
The concept and practice of polytonality -2 chords at once- is fine- but the original chord must be there somewhere- hopefully provided by another guitar or piano, in order for the second chord to be valid, or have meaning as a contrast. Other wise the ear will ascribe whatever meaning it can to the chord. It will not hear it as a "flat 9, natural 13, flat 5, or whatever extentions you have in mind.
A single bass note would suffice to hear the chord as intended......
It's all just 'Doh, Ray, Mi ', no matter the mode or key -- dump all that 'theory'...and just play from the heart, the soul....and the spirit.
how is a g a flat5 of c? Prof. Fisher IS playing an f# tho.
AUUUCH!! Who poured acid in my ears???
i am Indian sar help me Indian language
The spelling in the first inversion should be called G flat not G