Last scale, and then we're gonna start
putting this stuff together with
a couple other very simple tools,
and we're gonna be playing the blues.
The last scale we're gonna
look at follows the exact same
protocol as our F7 and B Flat 7 scales,
in that we're gonna add a passing
tone between the flat 7 and the root.
The notes in the C7 scale,
we've got C, E, G, and
then B flat is really what we would
call the tension or the extension on it.
[SOUND] So these are the chord
tones that we want to be hitting on
the beat with our scale.
And it's the same one that its been.
And to finger it we start with the two,
so that we can keep
continuity as we go up.
And it's two, one,
two three, one, two, three.
One, two, and the same thing going up.
One, two, three, one,
two, three, one, two.
Coming down, again,
we need to accommodate this little thing.
So we're gonna go three,
one, three, two, one, three, two, one,
three, one, three, two, one three.
three, two, one, three, one, three,
two, one, three, two, one and the root.
When we practice as we go up
the different degrees of the scale,
try to keep the fingering
that's on the chart.
So when we start on the E,
like this when we hit the fifth, the G.
I find that as I play these things,
sometimes I'm inclined to play something
like this [SOUND] with my second finger,
other times with my third.
But, the basic idea is the same.
In our next lesson, we're gonna
quickly take a look at practicing
these things over our play along tracks,
which would be the B flat dominant
play along track.
We have that in three tempos,
80 which is really, really slow.
Focus on your fingering.
Work on laying back at
that very slow tempo,
it's a lot harder to swing
at those very slow tempos.
You have to really be relaxed and
really be patient and
you can't be trying to make
something happen at those tempos.
Then we also have the G
minor seven modal scale, or
modal play-along track, and
the C7 Dominant play-along track.
So I will see you for those lessons.
We will quickly take a look at just kinda
practicing those things in that way.
And then we're gonna integrate that
approach pattern into these chords,
and we will be playing the blues