Concluding the breakdown of 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.
- Let's get some fingering going…on our G seven altered scale and our F seven altered scale.…Then we're going to continue to work these into…our vocabulary a little bit.…Let's start with the G seven altered.…Very familiar grouping again,…one two three, one two three, one two one,…or one three one I'm using.…The chord again, G, B, D, F.…The regular scale would have been.…
That little thing being our extra passing tone…that turns our seven note scale into an eight note scale.…But we've taken these two notes…and made them flat so that they work on an altered chord.…So, the fingering again in slow motion.…One two three, one two three, one three,…one two three, one two three, one three one.…Same thing on the way down.…One three, one three two, one three two,…one three, one three two, one three two, one.…
Let's go to our F seven altered scale now.…I think we know how we're going to practice this,…we've put out the track and do it.…I'm going to do it for just a second…on the really really slow jazz track,…the 80 beats per minute G modal backing track,…
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