The Scales That Built Jazz
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- Опубліковано 16 сер 2018
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Modern jazz is one of the most popular styles among academic musicians, with whole fields of research dedicated to studying its use of advanced harmony, chromaticism, and other complex techniques, but back in the day it was thought of as just dance music. So what changed? Well, Bebop happened. Bebop transformed the face of jazz forever, and it brought with it lots of new ideas and devices, including perhaps jazz's first real experiment in chromaticism, the Bebop Scales!
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SOURCES:
zani.co.uk/archive/music-archi...
cupola.gettysburg.edu/cgi/vie...
books.google.ca/books?id=8DKv...
mattwarnockguitar.com/bebop-s...
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Also, thanks to Jareth Arnold and Jade Tan-Holmes for proofreading the script to make sure this all makes sense hopefully!
The best part of these videos is how I start to understand more and more each time
I find it interesting that the Bebop Dominant is also in Bach's Invention No. 6 in E Major (BWV 777). But he laughed at the whole thing about "putting chord tones on the strong beats" and instead put everything on an offbeat just to mess with it.
There's also an F Bebop dominant scale in Chopin's Gm Ballade, and it's used to outline an F7 just like it would in Bebop!
Hi
I think you have to do it both ways, for contrast , like major and minor, one without the other is kinda missing the point, same with a groove within a melody, when you expect chord tones on down beats and you get the opposite it tickles your intellect . 😂😵💫
1) The chromatic scale
2)
Is this loss?
Nightmare903 😨😨😂😂😂
brain
2: The sonochromatic scale: starting at F on the chromatic scale, you pair the primary, secondary, and tertiary colours of light with each note, starting with red, so red is F, orange is F sharp, yellow is G, and so on.
3) nice touhou pfp
A point worth making is that these weren't things bebop players actually thought about when improvising. They did probably think something along the lines of adding chromatic notes to make the chord tones fall on strong beats but it wasn't seen as a scene in its own right rather just a chromatic ornamentation of a preexisting scale. Bebop scales came about after the facts from analyzing what bebop players did and putting names to some common trends.
Isn't that how the vast, vast majority of music theory was codified?
Elias Simon yes and no. In jazz absolutely. In classical sometimes the theory was codified after the fact but other times the composers were theorists and the theory came from their treatises essentially explaining how they conceptualized theory as they were writing. It just depends
I was just going to say that. Jazz improvisers didn't really start thinking chord-scale relationships till the post-bop era. Mike Longo and Hal Galper seem to be the only well known educators around teaching bebop as it was played, and I definitely feel indebted to them for that.
Nate P Don't forget out god Barry Harris. But his theories are very.. different.
Nate P Don't forget our god Barry Harris. But his theories are very.. different.
This was a really great video! My professor was actually a student of David Baker and has been writing a tune in his memory. Seeing his name pop up in this video made me smile, and I'm glad to see his repercussions on the world of Jazz Theory in motion, even in places I don't expect. Thanks for all the great work you do, 12-Tone, and keep rocking!
I'm so happy how the line "that G# makes it sound like an E7, which is a secondary dominant". When i started watching these videos I didn't understand anything and hearing this makes me realise how much I've learnt from you :)
I love the mini mandelbrot set
Using that figure to accompany the statement that “All this emphasis on structure isn’t meant to imply that bebop soloists were just repeating formulas” is really brilliant.
Yo that was so brilliant. This guy is a boss
The video i need.
This was one of the most helpful videos about the bebop scales that I've seen. Clear and concise. thank you
Wow this video took so much of the mystery out of bebop for me. thank you kind stranger, you are a true pal! I honestly just wanted to say that you have been so helpful in helping me learn music theory. now comes my favorite part, scratching my head and rewinding the video messin around on my guitar for a few days until you come out with a new video with an exciting new topic!!
"You're gonna carry that note"
Graduated from music school last year and these videos are such a good reminder about what was learned. Such a great resource for all students of music. I am really excited to practice this some more today. Haven't thought about jazz for a minute and videos like these are great reminders of the spice found in jazz and how we can use it in pop music.
Awesome video man! I have wondered about the scales for decades. Thanks for providing the background as to why they are the way they are.
Your videos always get me excited to keep playing. Thanks you for making this! I feel like you just opened a door in my brain.
This is the perfect way to explain jazz scales and solos to a classical musician. I actually get it now, thank you.
I really enjoy how your videos have something for people at any level in music theory. Keep up the good work!
Thanks for posting! Great explanation. I especially like your method of taking notes.
Wow! What a great watch! I learned a lot! Also loved the Mandelbrot and Sierpinski triangle.
Thank you for helping me visualize this, super helpful! You da best
Thank you for this! So great!!
so impressive, time consuming and enlightening work! You're making education an experience of art.
Great synthethic info Corey. Thanks.
I would perhaps suggest that a lot more went into building jazz than scales and harmony. Many ‘Eurological’ analytical tools demonstrate a bias towards the familiar language of scales and chords. All the while, omitting from the discussion tremendously interesting parameters and notions such as timbre, tone, rhythm, phrasing, dynamics, collectivism and interaction, performative gesture, and indeed wider cultural contexts. Of course, I’m not suggesting this video is positing that jazz was built from chords and scales alone, just noting that there is a lot more to jazz-be that pre-bop, bebop, post-bop, free jazz, fusion, swing, or anything else-than the musically mechanistic. Love the videos!
Holy wow. This is such a good explanation. Thank you!
Brilliant. I love your work.
great video, as usual! The subject of chromaticism get me thinking - I'd love it if you did a video about enclosures, as used in jazz, gypsy music, etc
very creative and informative/educational. thanks for sharing
If you're interested in the subject, I would love a video on 7-limit scales and tonal harmony.
To be, or not to bop: that is the question: whether 'tis nobler in the mind to suffer the flat 1 of bebop dominant, or to take a flat 6 against bebop major, and by chromatics end diatonicism?
LMAO
underrated comment
love this channel
Thank you very much for this vid!
As someone who likes math and music, I appreciated the little mandelbrot drawing and joke about formulas
Do you plan making a Video about the New Complexity Movement in Music and composers like Xenakis and Ferneyhough in the Future? That would be really nice!
Thanks great video!
Excellent, thank you!
Have you not yet considering doing musical analysis on Miles Davis’ So What, please?
It's just a Dorian tonality vamp that goes between two min11 chords a whole note apart and repeats this pattern but the key is half step up for a little while before returning to the original progression. Chord voicing usually formed from four notes stacked in intervals of a perfect fourth. The slow progression, sparse hits, and the ambiguous quality (with regard to harmonic function) of quartal chords expresses the sound of the whole dorian mode in just a couple chord hits, freeing a soloist from outlining chord changes and letting him explore the mode/other musical language in a less restrictive and more leisurely fashion.
Hugh Freeman saying So What is “just a Dorian tonality vamp . . . between two min11 chords” is like saying Picasso just used blue paint during his ‘blue period.’ 😉
I'd love to hear a whole video on swing. I've been interested in what makes that classic swing sound ever since I got into dancing, and noticed that a lot of songs to dance jive, foxtrot, quickstep and, of course, swing, have it. It's always sounded to me as if it's got this thing which makes it almost sound like a really fast waltz? Like, it's played with 4 beats, but each of those beats can fit 3 quick beats in them? Am I on to something at all? I dunno, it'd be cool to actually hear more about what makes swing swing.
HI! I would love to see a video on Jazz chord progressions, specifically bebop chord progressions. It is hard for me to hear the chord changes/movements in bebop. They seem to change at will, especially the comping instruments of bass and piano. Could you perhaps explain the repeating progressions in bebop songs? I have heard that jazz employs a lot of 2 5 1 resolutions. I have trouble identifying when those resolutions occur. Charlie Parker chord progressions/changes confuse me. Thank you for your content and passion!
Great lesson
I love your vids and I was wondering if you could do some videos on blues music
This channel is perfect
Thanks for the great analysis on BeBop scales! Has anyone composed anything in the diminished scale or a variation of it? I just stumbled across it while playing my piano and settled on using it without F# for a melody in an electronic music composition. Is that acceptable technically since there is a 3 semitone interval in the scale?
Thanks!
This might not be the most relevant place to put it, but it's not totally unrelated, and I know it might be very interesting, to both 12tone and some viewers.
I've been working on a lot of things with forte numbers and the like, trying to integrate the mathematical constructs of Forte and Rahn into more typical Heptatonic functional-like harmony. My latest bit of work has been on what I call '7-TUT,' which is my phrasing of the idea of an arbitrary heptatonic scale, "7-Tone Unequal Temperament."
I just completed a spreadsheet that computes what happens when you describe a single 4-note chord in both 12-TET and 7-TUT, and consider the possible 12-TET Heptatonic scales that are consistent with your 4-note chord.
Essentially, if you have a chord in a scale, and you want to go to some other scale, but none in particular, using that chord, you would plug in that chord and look at those new scales. All of them will follow the tonal pattern from the original scale, of that chord.
(If your chord is built in Thirds, the chord in the new scale will be built in Thirds. If it's a 2nd then a 4th then a 3rd, the chord in the other scale will have a 2nd, 4th, then 3rd. Thus, you don't just get enharmonically identical chords between both scales, but also structurally identical chords.)
To do this, I had to find all possible tetrachords in 7-TUT. This is done the same way as tetrachords in 12-TET, but with fewer resulting objects. Turns out, there are only 5 four-note chords. Voicings allow for highly varied emotions, especially given the prevalence of triads in western harmony, so that really gives 20 options. 20 options whose root can be placed on any of the 7 notes in a heptatonic scale.
Here is the sheet that I've been working on:
docs.google.com/spreadsheets/d/1pKG27L16yfcUCeMzZ1FB5vGysg5-2677_6UIkGrm_-w/edit?usp=sharing
You'll have to make a copy of it to configure the tool, but that's not trouble, and it's set so anyone can make a copy. (Or comment, if they wish.)
With 43 flavors of 12-TET tetrachord, and 20 different 7-TUT tetrachord structures, there are 860 configurations of the tool, all of which vary wildly.
Peter LeRoy Barnes wow this is very interesting. I feel however that I’m going to have to do some homework to fully understanding what you are talking about 😅
So if I understand you right, the tool takes 2 descriptions of a 4-note chord: as notes of the 12-equal chromatic scale, and as degrees of a heptatonic mode that's a subset of 12-equal. And it returns all the heptatonic subsets of 12-equal in which the chord has the same description, yes?
So in other words, the chord tones are constant and divide the octave into 4 segments. The number of non-chord tones in each segment is constant. But the chromatic position of the non-chord tones within the segment can vary.
Then the 5 tetrachords embedded in 7-TUT are: all 3 non-chord tones in the same segment; 2 in a segment and 1 in the segment (before|after|opposite) it; all 3 in separate segments. And then the chord has 4 inversions, i.e. any one of the 4 chord tones can be its lowest note. (And the heptatonic scale has 7 modes, each of which assigns a different degree number to said lowest note.)
But here you lose me. I still have no idea what is signified by whatever values I might plug into the configuration cells of your sheet. I cannot by hook or crook figure out where you get 43 from. And anyway, not every 7-TUT tetrachord is a possible realization of every chromatic tetrachord -- if the heptatonic description says there are 2 non-chord tones between the 3rd and 4th notes of the chord, but the chromatic description says there's a major second between them, there are no heptatonic scales that can satisfy both.
I'll probably think a bunch more about how to enumerate the chromatic tetrachords that are compatible with each heptatonic tetrachord or vice versa, but in the mean time could you explain the sheet and the number 43 for me?
So, when I mentioned there being 5 tetrachords in 7-TUT, I mean it in the same way that there are 66 Heptatonic scales in 12-TET, 43 Tetrachords in 12-TET, etc. Really, I'm talking about something analogous to pitch-class sets within 7-TUT.
There are 20 distinct ways you can select 3 from 6, "nCr(6, 3)." In 7-TUT, use the 1st note as the root of a tetrachord, and then pick any three other notes out of the six remaining. There are 20 ways this can be done.
(This is all 20, but you can change the root of it to give you the full 140 options. We will not be doing this, though. The purpose of this is to list types of chords, not individual ones.)
Now, list these 20 possible tetrachords, and group them by ones that are inversions of each other. This is done in the same way you translate pitch-class sets, often visualized in a circle of 12 dots/circles. We translate each tetrachord, one at a time, to find the matching groups. You can calculate that, because each tetrachord has 4 inversions (the root inversion and 3 others), and because this must be all combinations of a root and 3 other notes, there must be 5 groups of 4 chords, one chord for each possible root/inversion.
These are the 5 tetrachords I was talking about. This list is used together with another list which can be constructed in exactly the same way within 12-TET: the list of 4-note pitch-class sets. That is also, essentially, a list of tetrachords, but a more finely divided one, in a sense.
By the way, that list of tetrachords, within 12-TET, can be found here: en.wikipedia.org/wiki/List_of_pitch-class_sets
in the left column, after the 1-, 2-, and 3- note lists of pitch-class sets. Allan Forte's numbering, as well as Rahn's, count the pitch-class sets that are mirrors of each other as being the same, but with an added letter or B. In this way,, pitch-class-set 4-z29B is not the 29th tetrachord in 12-TET, but the 43rd. In the context these numbers were created in, it was useful to mark mirrored sets as the same.
The point of my tool, as you correctly gathered, is to consider all Heptatonic scales, within 12-TET, that allow for both the 7-TUT and 12-TET descriptions of a tetrachord to be simultaneously correct: that the 12-TET intervals in the chord are present, and the number of notes, exclusively in such a heptatonic scale, are consistent with the names of the notes in the 7-TUT description.
A Major 7 chord could be made enharmonically in numerous different heptatonic scales, but which ones say that it's made of a root, 3rd, 5th, and 7th, as well? That is the nature of this project.
Interestingly, the fact that the 12-TET and 7-TUT descriptions of tetrachords are unrelated means that you have to include which mode is being used. (Inversions work the same way in 12-TET as in 7-TUT.) Because the important part of this modality comes from where each description of tetrachord is relative to the other, you only need to count modes in one of the groups of sets of tetrachords. You can make the 5 in 7-TUT into a 20 or the 43 in 12-TET into a 172. For at least one reason, it makes more sense to take the 20 tetrachords in 7-TUT. Either way, the number of combinations of 12-TET with 7-TUT descriptions of tetrachords is 5*43*4, which is 860.
Make sure to look at the tool linked in my original comment to see how this all works together.
OK, I made sense of the 43. The 4 chord tones partition 12-equal into 4 spans of non-chord tones, each of which may be as small as 0 (i.e. two chord tones are a half step apart) as long as the total length of the spans is 8. So I started with partitions of 8 into 4 or fewer addends. But some of the partitions are equivalent to each other by rotation, and when I strike out those redundancies, 43 are left.
I have looked at the tool you linked, but I don't find it very self-explanatory. What kind of number or letter would I put in each of the configuration boxes, and what would I be asking for if I did?
The same principle that you described applies to partitioning 4 tones into 7-TUT, with 4 spans of non-chord tones as small as 0, but the total length becomes (7-4)=3. That gives 20, some of which are equivalent by rotation, giving 5. (I hadn't considered your phrasing of it. 'Span' is a very useful word, here.)
The meat of the idea is in taking the two different types of spans and then asking a) whether they don't disagree [i.e, if the 7-TUT space has asks for a span greater than the 12-TET space allows for, the construction is impossible. The reverse is not the case.] and b), if they don't disagree, how many ways are there that do agree?
This is the same as the question "How many scales match the patterns of both distinct descriptions of the Tetrachord?"
It's important to distinguish between these types of spans. In 7-TUT, we are talking about spans of Scale-Tones between Chord-Tones. In 12-TET, we are talking about spans within the entire set of 12-TET, between Scale-Tones.
I suppose the tool isn't self-explanatory, but it does hint to what the ideas are about. Perhaps that's because I was the one with the idea, and then the one that made the tool.
A, B, C, D, and E are the names I gave to the 7-TUT Prime Tetrachords. (Prime refers to it being the smallest in the group of chords/sets of notes that are rotationally symmetric/equivalent.)
The list of 7-TUT tetrachords is shown in the top-left, with the blue column. It includes the 'inversions' of chords (Inversion has the same meaning here as in other parts of music theory. Mathemusically, they are rotations of the prime form.)
The columns labelled 1-7 denote whether the nth degree of the scale, relative to the root of the chord, is a part of that chord. [The column for 1 is sectioned off because we only want to consider chords that contain their own root, chords which have the note that is in 7-TUT unison with the root.]
Next to that are columns labelled 1-4, which denote the length of the nth span, just as you talked about, for that chord.
In the configuration boxes, putting in the listing for a 7-TUT tetrachord, with letter and number, gives it the 7-TUT spans for that tetrachord. In the brown configuration box, the number corresponds to which of the 43 12-TET tetrachords to consider the spans for. The tool will check 56 different possibilities of matching those spans from 12-TET and 7-TUT, asking the same questions a) and b) from earlier.
This can be seen in the large area with columns 0-11, 1-4, and a condensed group of 8 other columns:
The 8 condensed columns define all 56 ways to choose 3 out of 8 notes.
(In 12-TET, the Tetrachord defines 4 of the 7 notes of the heptatonic scale. 8 chromatic notes remain, and 3 notes must be selected for the heptatonic scale. 8 choose 3 = 56.)
Columns listed 1-4 determine whether the configuration puts more notes in the 12-TET span than are in the 7-TUT span. If there are more notes put into this configuration than are requested, the output will be 0, otherwise, it'll be 1. This is done once for each of the 7-TUT spans of the Tetrachord. If all 4 of these numbers come out to 1, then the configuration is valid.
The unlabeled column on the left of the table checks for whether all 4 spans agree with the configuration.
In the rows that have agreeable spans, the complete heptatonic scale will be produced as defined by that configuration (from the 56 possible choices of 8 choose 3). The 4 chord tones will be present, and 3 other ones which define an heptatonic scale. Using the root of the scale, constructing the 7-TUT tetrachord you input on that scale will give you the 12-TET tetrachord you input. This is the purpose of the tool.
Further to the right, the table extends. The prime forms of the heptatonic scales are shown. (Heptatonic scales in 12-TET follow the same rules as tetrachords in 12-TET; each of them is rotationally equivalent to 6 other heptatonic scales. These are often called modes, in the same way that tetrachords call them inversions.)
Because of this, it's useful to see exactly which, and how many, of the 66 heptatonic pitch-class sets contain the tetrachord, defined with 12-TET and 7-TUT.
Thinking back on it, this is the perfect tool for jazz improvisation as described in the video (given enough time to practice beforehand). You would describe the 12-TET chord, then the pattern you want (typically 7-TUT tetrachord A1, the 7-chord). Improvising on any of the output scales will emphasize the chord tones in the way that you describe, and the options allow a decent freedom in the other notes.
It wouldve been nice to have a short 30 second clip of all the scales going together in a simple improv.
Jazz made music evolve so fast, and to this day, just adding a bit of jazz to your pop or rock song makes it sound so different... Evennif you add something very basic, people will notice it and think its cool...
However, if you add too muchbor something very complex, most of the regular fans will probably not like it...
That means jazz is like a hot spice... Those who love spicy music love jazz... Those who dont can enjoy a little soice in their otherwise not spicy music...
You are awesome.
3 2 1 lets jam!
Love Tank!
SEE YOU LATER
SPACE COWBOY
Ok
This is the lesson you've been looking for to break out of that pentatonic box!!!!
Baker was awesome. I studied with him at Indiana University in 1985.
Very systematic and helpful, bravo and thanks
See You Space 12tone.
*F Ab Bb B C Db Eb E (F)*
I love that one, because
1. It has 8 notes
2. It has some insane chromaticism (Bb B C Db and Eb E F) and looks really weird
3. It sounds really cool
DerSibbe
F G# A# B C Db Eb E F ->
C D# E# F# G Ab Bb B C
So it's like Superlydian into Aeolian, but adding a leading tone
That's one crazy scale my friend
Leading Superlydiaeolian?
Wait, it's Superlydian Augmented with a Nat5 inserted!
So it's like Superlydian Bebop, if we follow the Bebop scale patterns of ordering chord tones
...
4. It has a cool name
DerSibbe
Man, this is going in my scale book, with a note of it's origin
*noice*
Awesome video as usual 😊 I would love to hear your thoughts on All Night Long by Lionel Ritchie. A “simple” pop song but harmonically somewhat interesting. Have a great day!
I understand a fair bit of these videos (compared to someone seeing them to the first time), but I'll admit, I had "Tank!" stuck in my head through this entire video.
Darn, I was hoping you were going to mention how soli sections utilizing the bebop scale creates diminished 7ths in the upbeat
So this is probably the... 20th video of yours I have watched and I just realized your left handed lol awesome videos btw I’m just a guy trying to take my guitar playing to higher levels
I want to see more analysis of jazz before the bebop era. I can hardly find anything about it online.
How common is it to use a major 6 for the tonic? Usually what you hear about jazz is "it's all sevenths" but honestly it seems like the major seventh is pretty rare.
"See? Jazz is easy" had me laughing
You should do a video on the C major chromatic scale.
Forward
Cc# Dd#EgFf#Gg#Aa#BdC
Backward
CdBa#Ag#Gf#FgEd#Dc#C
This is really how Bebop works
Thank you. Jazz is a mystery to my blues hands.
Might be a dumb question, but are those scales useful outside the jazz context, and specially, outside jazz harmony? Or if I start using them I would eventually end up following jazz harmony "rules"? Great video as always!
You can use any device in any context, but these do have a strong cultural association with jazz so there's a good chance that if you use them a lot you'll wind up sound jazzy. You definitely don't have to follow any other jazz rules in order to use them, though!
Chromatic notes between the 7th and the root, and between the 5th and the 6th are really common in classical music too. The only reason why in jazz these scales have their own names (and it's not just major scale + accidentals) is because they are an easy way of improvising fast over chord changes. In traditional context you would not call these differen't scales.
when you're descending down a chord scale, why not just reverse the swing to short-first in each pair? it still sounds like swing because long is mostly followed by short. if another player is doing normal swing, you're playing the same chord so how is that a clash? do swing and eighth-delayed swing sound rhythmically wrong together?
I was distracted by your extraordinary way of continually implementing learning by visual input throughout the video.
Where can I leave a $ tip?
You have a great channel.
Anyway, in the near future, you're going to make a video on the The Warning 🇲🇽. If you want to get a headstart on your future self, you could get started now with a look at "QOTMS," "Error," and "Keep Me Fed".
:O
Now I can appreciate Super Mario soundtracks :O
Hi
Could you explain bossa nova?
The 7th mode of Blues Scale iii
Composite ii Scale (1, b2, 3, ♯4, 5, b6, 7)
Chromatic Hypolydian.
So close to the Double Harmonic Major, but the 4th degree is sharp.
Should I rename this 'Double Harmonic Lydian' (?)
w/two augmented seconds, between b2-3 and b6-7
I mean, the name certainly makes sense, and connects it to some other scales that it sounds very similar to. I like it.
Hey there, I'm a dude making a scale book as a semi-dissertation
Your logic is sound, I also named this scale Double harmonic Lydian
Thanks.
I
So cyborg elephants use the modern variation of the bebop minor scale - got it! (4:28)
Great videos - keep 'em coming!
The only thing I don't understand is why having the non-chord tones fall on the beats is a problem in the first place. It sounded fine to me.
Great, if that is what you are intentionally going for, but it's always better to have all the options available.
Chord tones on the downbeat are more often than not used in music, regardless of the genres, including jazz. It creates a strong relation between the harmony (chords) and the melody or solo. It's the way you can get your solo to 'spell out' the changes. Now it is not always the case since there are no hard rules in music, whatever sounds good or whatever the artists fancies using. But knowing whether you're using a chord tone on the downbeat or not is definitely something useful that you should be aware of. And the bebop scales provide a useful shortcut.
6 years in to my musical journey and three years of studying music theory,
This makes me wonder, is there any music you have written?
5:40 is that a Mandelbrot!
Yup
The pirate/robber elephant is the best!
smooth sponsor once again
Weren't modes not truly used the way we think of them until kind of blue?
Finally I have just learned the what bebop is.
Dat Mandlebrot set doe.... I ell oh elled.
Is... there supposed to be a problem with non-chord tones being on the strong beats?
tymime
Not exactly, it just brings a better chance of hitting "avoid tones" where you'd clash with the backgrounds more than you'd expect. It's great if that's the effect you want, but it also confuses the ear a bit
Actually, bebop did veer into becoming too formulaic, which is why Miles went into modal jazz, leading Trane to go into modal and free jazz (after creating one of the hardest chordal progressions in Giant steps).
Does this mean we might see a video on Tank! from Cowboy Bebop? 😋
Or even The Real Folk Blues/See You Space Cowboy. I'm pretty sure those two use the bebop scale to great effect.
When 12Note used the Emi7 scale in the video it just clicked.
Can u do a breakdown of Master of Puppets by Metallica or Waiting in Vain by Bob Marley?
+12tone
I've been noticing some people not too happy with the samples you use for the music in your videos. I know hiring someone who knows the specific instrument for every video is impossible. However, have you looked into copyright law? I may be wrong but your videos are educational and only use short clips. I think you could easily get away with sampling the song directly under fair use and it would improve the quality of the videos by quite a bit I would wager.
Was that supposed to be a Mandelbrot set?
I cant play the A mixolydian chord tones without imagining a Faith No More song
Holy crap.. Mind = Blown, I feel like I understand a lot more about music now!
Why wouldn't they just use the same bebop dominant scale pattern (with a b7 and natural 7) for both dominant and major chords?
Because that scale puts the major 7th on the off-beat, which makes the b7 feel more like the chord tone.
Thanks!
I think it's better to refer to #1 as b9
In the abstract I'd agree, but in the context of the scales it's being used in here, it's functioning as a major 7th in a scale based off the 2nd degree of the key, so I think it's better to view it as a #1.
what about the cowboy bebop scales?
can you have a video about understanding "More Than Words?"
Why is it that the rhythmic arrangement of a descending line would be the deciding factor in the development of a scale if playing straight descending patterns down a scale is such a small part of improvising?
Snowblinded73 because thats not how it happened. bebop scales are explanations of melodic content in jazz music. the actual reason is largely chromatcism to link chord tones, the bebop scales are just composites, simplifications of that approach.
Thanks
I do wish the piano was louder! Almost impossible to really hear.
kay
I think Bebop here resembles to Cowboy Bebop which has best jazz-related opening song
Weird, why does no one talk about pre-bebop jazz on UA-cam?
So…the bebop scales are seriously sort of descending-only scales? (i. e. reanalyzed from a classical theory point of view)
I'm not sure I'd go that far: Their most obvious value is in descending lines, but they also have the benefit of lining up the notes in the scale with the beats of the bar (or, more precisely, the 8th notes) so they have plenty of use ascending too.
You can also get some nice diminished harmony in major using the bebop major. Barry Harris' bag.
Different descending than it is ascending ... it's like Melodic Minor, all over again ... :'( ... ... ;D
1-7-b7-2-6-5 : David Baker's lick over the V7. RIP David
Mandelbrot!