Nice video, Aaron. I think Hal Crook makes a good suggestion when he says first be able to solo well using chord tones only and then later think about chord scales or other passing tones, approach notes, etc.
Thanks Rob! Been a long time, I hope you and the CJC are doing well. That does make perfect sense as an approach to soloing, I like how Hal's improvisation practice often uses limitations as a way to teach different concepts.
Informative and brings some clarity to some stuff I have heard from other people; like the practice notes regarding what is common amongst improvisers versus what is doctrinal.
I'm curious as to why you call it a G Mixolydian b9 b13 scale, which you admit is a mouthful, and not by the more commonly known Phrygian Dominant scale?
Good point! I was going with the terminology that was used at Berklee, but both are certainly fine. Despite its wordiness, for me, I do think the Mixolydian b9 b13 is more accurate and gives a better description of the mode, even if phrygian dominant is common. But it is definitely just a matter of personal preference!
I overlooked application a bit in this one, but have plans for a guided practice video digging into that. I recommend playing up and down the scales first to get them under your fingers, then applying them in time over the chords (like you're playing the tune.) I hope that helps!
Is it necessary to play natural minor pattern while descending in melodic minor scale? Can it descend like its ascending pattern i.e. - Roor, 2nd, minor 3rd, perfect 4th, perfect 5th ,Major 6th, flat 7 ? Please help and let me know
Great question! In jazz, when we refer to melodic minor, we pretty much universally mean ascending melodic minor (with major 6 and major 7) for all purposes, both ascending and descending. Let me know if you need any more explanation. Thanks!
Aaron, I was hoping to learn something from your video but did not, regrettably. I stopped watching when you continued your discussion without providing any context to explain why the third measure is a 5 of 6. That's important to me because I'm attempting to understand the chord progressios. I don't follow blindly olo g, if things are not explained when I learn. I choose to know and understand the "whys". Perhaps it's clear to you or maybe you are simply offering an example as a discussion point but in the absence of even such a statement, I began to appreciate what you were trying to covey less and less. I'm not being insulting, I'm trying to be supportive because I could have simply moved on without taking the time to offer any feedback. I hope my criticism is taken positively to help you improve the quality of your content in the future.
I appreciate your feedback, I try to go into what detail I can, but some things are hard to get to in a video like this. I’ll certainly take it into advisement for future content! To go into detail, the chord in the third measure, G7, because it has a B natural, doesn’t exist in the key of Eb major (which has a Bb). The key of C minor (which is the “6” of Eb) can have a B natural (either with harmonic or melodic minor forms). So the function of the G7 isn’t in relationship to the key of Eb, but instead to C minor, where it is the 5 chord. I used this as an example because whenever we see a chord that has notes that don’t belong to our home key, it is usually because it is being borrowed from another key, or mode. This impacts what scale choices we use.
You articulated this incredibly clearly, and in a way that wasn't dogmatic or limiting creativity. I appreciate this video!
That’s exactly what I was aiming for, thank you so much!
Nice video, Aaron. I think Hal Crook makes a good suggestion when he says first be able to solo well using chord tones only and then later think about chord scales or other passing tones, approach notes, etc.
Thanks Rob! Been a long time, I hope you and the CJC are doing well. That does make perfect sense as an approach to soloing, I like how Hal's improvisation practice often uses limitations as a way to teach different concepts.
Nice ! You've clarified a lot of things that I never fully grasped (as a strictly classical musician who's looking to broaden my horizons). :)
I’m glad to have helped! Let me know if you have any questions that I might be able to help with.
Very clear. Thank you. English usage correction: You say "derivate" when you mean "deviate".
Thanks very much great video!
Thank you very much! Glad you like it!
Informative and brings some clarity to some stuff I have heard from other people; like the practice notes regarding what is common amongst improvisers versus what is doctrinal.
Yes, a lot can change between theory and practice, thank you very much!
nice!!
Thank you!
I'm curious as to why you call it a G Mixolydian b9 b13 scale, which you admit is a mouthful, and not by the more commonly known Phrygian Dominant scale?
Good point! I was going with the terminology that was used at Berklee, but both are certainly fine. Despite its wordiness, for me, I do think the Mixolydian b9 b13 is more accurate and gives a better description of the mode, even if phrygian dominant is common. But it is definitely just a matter of personal preference!
Thanks for the new upload! But, how to apply it to our horn practice?
I overlooked application a bit in this one, but have plans for a guided practice video digging into that. I recommend playing up and down the scales first to get them under your fingers, then applying them in time over the chords (like you're playing the tune.) I hope that helps!
Is it necessary to play natural minor pattern while descending in melodic minor scale? Can it descend like its ascending pattern i.e. - Roor, 2nd, minor 3rd, perfect 4th, perfect 5th ,Major 6th, flat 7 ? Please help and let me know
Great question! In jazz, when we refer to melodic minor, we pretty much universally mean ascending melodic minor (with major 6 and major 7) for all purposes, both ascending and descending. Let me know if you need any more explanation. Thanks!
@@aaronbahr9978 Thank you so much for the reply. It's clear now
I'm really trying to understand what you are saying 🤔
If there is anything specific that you'd like a little help understanding, please let me know!
Aaron, I was hoping to learn something from your video but did not, regrettably. I stopped watching when you continued your discussion without providing any context to explain why the third measure is a 5 of 6. That's important to me because I'm attempting to understand the chord progressios. I don't follow blindly olo g, if things are not explained when I learn. I choose to know and understand the "whys".
Perhaps it's clear to you or maybe you are simply offering an example as a discussion point but in the absence of even such a statement, I began to appreciate what you were trying to covey less and less.
I'm not being insulting, I'm trying to be supportive because I could have simply moved on without taking the time to offer any feedback. I hope my criticism is taken positively to help you improve the quality of your content in the future.
I appreciate your feedback, I try to go into what detail I can, but some things are hard to get to in a video like this. I’ll certainly take it into advisement for future content!
To go into detail, the chord in the third measure, G7, because it has a B natural, doesn’t exist in the key of Eb major (which has a Bb). The key of C minor (which is the “6” of Eb) can have a B natural (either with harmonic or melodic minor forms). So the function of the G7 isn’t in relationship to the key of Eb, but instead to C minor, where it is the 5 chord. I used this as an example because whenever we see a chord that has notes that don’t belong to our home key, it is usually because it is being borrowed from another key, or mode. This impacts what scale choices we use.