For this chord scale relationship i would just play E Phrygian dominant over C major shell after E major b6 to soften it. Then use a cadential chord arpeggio (modal jazz) from the key of the root chord, C major to get back to C5/C major7 Essentially in every single case, you use the cadential note of the scale of the key you are going back to immediately after you done with your chromatics
Great lesson ! Interesting that as it is in every case, all notes played against any fixed root (whether a single bass note, fifth interval, etc) are either core tones or extensions of those roots. In this combination example of the C5 root and the E major scale assigned to the improv melody, F# is the #11th of C and also the 2nd or 9th of the E major scale... Another interesting thing, G on the C chord makes the E scale minor (although I think that note was restricted and if used, in a very passing fashion) So anyway, I wish I could explain why I gravitated to interpreting the lesson this way.. I guess it's the way I got used to do it. In altered scales the rules are well defined but this opens up further exploration and creativity leaving it up to the player's ears to be the judge of its musicality. Put on your "jazz balls" for this boy... LOL! 😅
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Hi Noah l missed your lesson on proper fingerings when playing be bop riffs
Not sure if... maybe Cmaj Emaj/C Am then 2 5 1 back to C?
For this chord scale relationship i would just play E Phrygian dominant over C major shell after E major b6 to soften it. Then use a cadential chord arpeggio (modal jazz) from the key of the root chord, C major to get back to C5/C major7
Essentially in every single case, you use the cadential note of the scale of the key you are going back to immediately after you done with your chromatics
I feel like I want to spend a couple months going back through a lot of your videos, you are a great teacher! thanks!
Great lesson ! Interesting that as it is in every case, all notes played against any fixed root (whether a single bass note, fifth interval, etc) are either core tones or extensions of those roots. In this combination example of the C5 root and the E major scale assigned to the improv melody, F# is the #11th of C and also the 2nd or 9th of the E major scale... Another interesting thing, G on the C chord makes the E scale minor (although I think that note was restricted and if used, in a very passing fashion) So anyway, I wish I could explain why I gravitated to interpreting the lesson this way.. I guess it's the way I got used to do it. In altered scales the rules are well defined but this opens up further exploration and creativity leaving it up to the player's ears to be the judge of its musicality. Put on your "jazz balls" for this boy... LOL! 😅
Can I get some examples of pianists and songs that use this technique as a reference?
Great lesson
I want to continue listening, but in my line of work, these sorts of outside harmonies aren't very applicable.
You are not there yet
Excellent video once again