Of course, it can still be thought of as the ascending melodic minor scale, starting and ending on its seventh note. Yup! I taught you all that other stuff so that you’d understand it… but this is the shortcut I use to play the altered scale! Here’s the ONE and only rule you need to know:ġ) Take any major scale and sharp the first and last note. Now I want to teach you a trick that will have you playing ANY altered scale you want in 3 seconds… that is, if you know your major scales! This entry was posted in Blog, Lesson and tagged advanced, altered scale, composition, guitar, improvising, jazzguitar, Jens Larsen, lesson, melodic minor, Video Lesson, YouTube on Septemby jens.For the past two posts, we’ve been talking about the altered scale.
Altered scale free#
Please subscribe to my YouTube channel and feel free to connect with me via Facebook, Instagram, Google+ or Twitter to keep up to date with new lessons, concerts and releases. If you have any questions or comments then feel free to leave them here or on the video.
Altered scale pdf#
In the video I talk a bit about how I constructed them.Īs always you can download the examples as a pdf here: The idea is that the we can make lines using 7th chord arps, triads and scale fragments like we do on any other chord, we just have to take care that we arrive well on the I chord. Here are those two arpeggios in the position we are using: I often use Fm7b5 and Bmaj7(b5) for G7 altered because the both contain the B and the F so the basic sound of the chord is there and the rest are good altered extensions on the chord:įm7b5 is F Ab B Eb which relative to G7 is b7 b9 3 and b13īmaj7b5 is B Eb F Bb which is 3 b13 b7 #9. To have some building blocks for your lines we need to solve the problem that the diatonic chord on the G is not a dominant so that is not going to work very well as a starting point. I have a lesson on target notes that demonstrates that, and how I build lines on a turnaround with some altered dominants. I think a lot in target notes when I practice improvising and composing. Having done example 3 we can make the simplest altered II V I licks known to man, which are in fact just adding a chord note from the Dm7 to the resolutions above, as I do in example 4:
Altered scale movie#
Try playing example 1 to establish the C major context in your ear.Īll these resolution should sound pretty logical to your ear, and my guess is that you’ve already heard every one of them a thousand times before in jazz standards, tv and movie music.
If you play it in a C major context you can probably hear it. The G altered scale contains the notes G Ab Bb B Db Eb F In example 3 I have taken each of these notes and let it resolve to a note on a C major chord, so Ab resolves to G, Eb to E or D etc etc. Just to have a reference I am demonstrating everything using this position of the Ab melodic minor scale or in this case G altered.
Altered scale how to#
This is in a way all that we need to work on: How to resolve the notes of the altered chord (or scale) to the tonic. The Eb on the G7 chord is in this case what gives the chord an altered sound, and we need to resolve it to an E or a D on the Cmajor7. The altered chord is a dominant that acts up for a few beats and then settles down nicely to the I chord. Altered Dominants are meant to be pulled out of the hat to sound out side for a bit and then resolve back to the surroundings at the end of the cadence. The only thing that is tricky is the function it has most of the time: To sound out of place. But in the end it is of course just a set of notes like any other scale and no more difficult than the rest of them. What I mostly have heard about the altered scale is how people keep telling me it is difficult and probably the name makes it stand out. In this lesson I want to explain how I deal with the altered scale in the context of a cadence and how hearing the notes related to where they are going gives a better understanding of how the chord works. So after many requests it is finally here: A lesson on the altered scale.
0 kommentar(er)
