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Jazz Piano Lessons: Minor/Major 7: A Quick Easy Place to Go

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[MUSIC]
Let's take a look at a nice place to go,
a quick thing to think of
if you're burning away,
I'm gonna do this one in D Minor,
let's say.
Part of the reason I'm gonna do it in D
Minor is because a very frequently called
tune that goes by so fast it'll make your
head spin at a jam session is Impressions,
John Coltrane tune that's
mostly in D Minor.
And you're playing along and
you've got everything going.
[MUSIC]
All that is bebop scale
with approach pattern, and
you've got your pentatonic going,
[MUSIC],
that kind of thing, and
you want to freshen up
the color a little bit.
Take a look at that, and
that really quite does it.
This is a minor major seven scale.
And when we put in an alternate
color like this, we don't just want
to do it with our left hand and continue
on with business as usual with our right.
We want to accentuate
the difference that we're making.
Let's look at what we've
done here to get that sound.
[MUSIC]
There's our standard issue D Minor 9
chord.
One, three, five, seven, nine.
All we're doing is taking [SOUND],
our flat seven and
making it into a major seven.
This interval here is a major seven.
The minor major 7 is a chord
that you hear often.
And I'll show you the context and
you'll recognize it.
Take a tune like Duke Ellington's
beautiful song, [SOUND] Ellington and
Strayhorn.
[MUSIC]
There it
is right there.
That's what's called a line cliche.
The voice moving down by
half steps like that.
So you've heard this in a bunch of places.
Harlem Nocturne is full of these things,
too.
Let's go there.
Let's play a little bit in D Minor,
then let's hit this
[MUSIC],
and the thing that we're going to play on
it to start with, again in the interest of
accentuating what we're doing differently,
drawing attention to the fact that
we've substituted something in here.
As I say that you most have your
audiences' attention when you start and
when you stop.
And that includes when you start and
stop a phrase.
And it also includes when you start and
stop with a different sonority.
You're down here,
you're burning away like this.
Suddenly, you hit with that.
Let's play a scale that accentuates
that ,and there's a really logical one,
the E Minor 6.
Look at the notes that we get [SOUND],
I mean,
you can play that as a cluster and
it's a really cool sound right there.
Gives you a way.
Once again, if what we like is
repurposing as I would say,
some things that we've already learned,
this is a beauty.
Let's put up our D Minor modal track,
and I'm gonna play a little bit in
the D Minor seven, then we'll hit this and
play some stuff and talk about it.
[MUSIC]
Here's our regular D Minor sound.
Let's go up to our
minor major seven.
[MUSIC]
That's all
straight up E Minor
six pentatonic.
[MUSIC]
Use it as a color
rather than something
that you wanna sit on forever.
[MUSIC]
That's our
little D Minor six
pentatonic there.
[MUSIC]
There we heard
a little bit
of our course,
our alternating
pentatonic
exercise there.
And can hear that you just hit it, you put
a scale on it that takes advantage of it.
And then you got back to business.
We're gonna hit a couple more of these
things that are just options for
you as you play on a modal piece.
Gives you places to go
to freshen things up.
And we're gonna look next at
a bop scale that also really
accentuates the
[MUSIC]
that right there,
the color note that we've
added to our vocabulary.
And then we're gonna get into some
really interesting stuff that
I've been working on for 25 years now,
that I'll never exhaust.
It's a really great way
to play on modal tunes.
So let's have a look at our be-bop scale
that we'll put on this chord next.
[MUSIC]