Continuing with altered dominant scales, you learn how to use the right hand to play over altered dominant chords. George shows you how to finger these on the piano and explains how altered harmony is a much more expressive device and compares and contrasts the altered scales with regular scales.
- We've been working on our altered dominant chords,…on our sharp nine-chord, in particular.…It's time to get up some stuff that we will play…with our right hand when we're soloing over…these altered dominant sonorities here.…There's a G altered 7th chord with third, seventh,…and the sharp nine.…What do we play on that?…It's pretty simple, really,…we're going to do the same thing,…the same principles and the same ideas…we did with our regular dominant scale,…but we're just going to take two of the degrees…of the scale down a notch.…
So the regular dominant scale on this,…(plays notes)…it's just a G mixolydian scale,…which is essentially the C scale starting from the G,…and we have our little extra passing tone…between degrees seven and eight or one,…(plays notes)…but if we've got this going…in our left hand,…or if that's the harmony we're blowing on,…(plays notes)…that doesn't really fit anymore, (plays notes)…but that does, so we're going to take our A down to an A-flat,…and there's a configuration in which that…
Note: This course was recorded and produced by ArtistWorks. We're pleased to host this training in our library.
- Practicing pentatonics
- Two-handed comping
- C7, F7, and Bb major 7 bop scales
- Practicing essential jazz scales as a cadence
- Working on the 1-6-2-5 chord cycle
- Practicing altered dominant scales