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Jazz Piano Lessons: Last 2 Scales of Blues in E

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[MUSIC]
On to our last two scales that
we're gonna use on our blues in E.
We're gonna want to do the turn around,
which is what it's known as.
[MUSIC]
That little cadence,
the two minor chord to the five
seven chord to the tonic,
the root chord, is called a turnaround.
There's different ways of doing it,
you can actually go [SOUND]
Another turn around,
basically a little cadence,
a little sequence of chords that
gets you back to the top or
to the top of the next section.
So the first of these chords
is F sharp minor seven.
[MUSIC]
There's our minor triad,
it's the saddest key.
And then on top of it we have our E.
That is the seventh.
So F sharp, A, C sharp and E.
The scale we're gonna use on
this we're gonna do the exact
same thing in principle as we
did on our G minor seven We're
going to add the extra degree
to between [SOUND] five and six.
So if we were actually really
just using the mode on
this it would be the F sharp Dorian mode.
[SOUND] which is the E scale but
started from F sharp.
It's good to kinda know what people
mean when they say the word Dorian or
especially Mixolydian or Lydian, just so
that you kinda know what they're
talking about, but In practice,
those scales aren't really,
if you do a lot of transcribing,
you always see these passing tones in
there that makes it an eight-note scale.
There's a great pianist and
instructor named Barry Harris
who's been teaching this
stuff since the 50s, And
I'm not sure where Charlie Parker got it,
where Dizzy Gillespie,
where Bud Powell got it,
but somehow everybody,
either intuited this or
somebody was showing them,
throw that extra note in there and
you'll stay in sync.
So on this scale
[MUSIC]
that's our scale.
F sharp, G sharp, A, B, C sharp, D,
that's our little additional passing tone.
D sharp, F, and F sharp.
So on the beat.
[MUSIC]
We get that flavor on the beat and
again what we hear on the beat
is what the listener,
that's the harmony that,
what they hear is the harmony.
And we have that nice
little buzz note again.
The 13 on the minor chord.
How I finger this one, pretty simple,
two three one two three one three one two
three one two three one two one three one.
You could also use the two here,
but for some reason I just
naturally go with my third.
And than on the way down
as we've been doing
we're gonna learn this scale next i use
the B7th scale starting from the 5th so.
once again we have
[MUSIC],
3 1 2 3 1 2 1 3 2 1 3 2 1 2 1 3 2 1 3 2
1 3 2 I mean 1 2 1 3 2 And
that's how we do that.
Yet another one that's not using our
fourth and fifth, as we do our exercises.
But that's the most efficient
way to play that one.
So there we've covered
F sharp minor chord,
now let's move to the B seven chord.
[MUSIC]
The last of the chords that we need to
play in E seven blues.
This one
[MUSIC]
it's kind of a recurring theme here,
that there's two groups of three and
a quick little group
of two in the fingering.2
soThere's our B 7 chord B,D sharp,
Fsharp, A is our 7th and
we're going to put those
notes on the beat with the B
7 bop scale same principle
as always the extra degree between 7 and
the tonic.
One, two, three.
One, two, three.
One, three.
One two three.
One two three.
One three.
One two three.
One two one.
One three one.
And same on the way down.
One three one.
One three two.
One three two.
One three one three two one
three two one three one One,
three, two, one, three, two, one.
[MUSIC]
Little clam in there, but,
like David Sanborn says,
if you make a mistake, just play it again.
So here we go.
[MUSIC]
[MUSIC]
Okay.
Those are the scales,
the bop scales on our E seven.
Practice them as we've been doing.
Play them from each degree.
Put your metronome on two and four.
One, two,
a one, two,
three, four.
[MUSIC]
[MUSIC]
[MUSIC]
[MUSIC]
That's the idea.
You could probably hear that
when I switched over to
[MUSIC]
to playing just forte and straight and
without doing my jazz stuff,
I started to play a little bit on top.
It's a natural thing
that when you play louder
The additional force,
we want to kind of force it in there and
there's a tendency to play on top and
this is why when I'm practicing
I play every possible kind of dynamic and
articulation.
Because that's what I'm checking for as
I vary up my as I kind of make it dance.
As I like to say,
I'm working on keeping my time consistent.
And I just busted myself getting
on top of the beat there.
So that covers the four bop scales.
In our next lesson,
we will take a look at getting our
pentatonics together for the E blues.
And then we're going to take that and
have a little fun with that.
We're going to find those
same voicings on there.
And we'll be good to go on
fully half of our vocabulary,
of our chords in the dominant chord world.
So I will see you for
the next lesson.
[MUSIC]