Let's take a look now
at our D major 7 bop scale.
This is the one,
more than any other scale,
where the bop scale is
really in its glory.
And let's take a quick
look at why that is.
Here's our D, just a D pleasant chord.
Let's make it a D major 7 chord.
If we're putting the chord tones on
the beat as we solo,
people are getting this from it.
It's a really pleasant sonority,
it sounds like it's in sync.
With this particular one, though,
if we are doing the wrong thing and
we're putting the wrong notes on the beat,
what would those be?
Well, they would be the notes that
are between the beat in our scale.
So that would be,
these are the in-sync notes,
these are the out-of-sync notes,
if we're putting those
on the beat this is what
the listener's getting,
We don't want that, to be honest Herbie
Hancock could probably make something
beautiful out of that chord.
But again, for us mere mortals,
that's what the listener is
getting if you've got
the out-of-sync notes on the beat.
It kinda sounds
And, a lot of people when
they start to get into jazz,
they're confused by this because
they've learned the modes,
and of course the mode on a D
major 7 is just D-ionian.
The D major scale.
And these notes are in that scale, why
does it sound wrong when I'm blowing away?
What could be wrong, they're in the scale,
it doesn't sound right.
The problem is that you're
putting those on the beat.
If we play
the bop scale
It starts to sound really in-sync,
as opposed to
especially that right there,
putting the 4 on the beat.
You can hear the difference.
And it's also really obvious
on a dominant chord.
On a minor chord it's not as much of
a thing because these notes actually
kinda sound cool on a minor chord.
The problem with doing that on a minor
chord is that you're wasting the leverage
of resolving these notes to this note.
You're already playing
the notes of the F 7.
If you're playing the out-of-sync in
between notes on the beat.
now let's finger the D major 7 scale so
that we can get on with our 2, 5.
Again we're adding [SOUND]
the passing note is between 5 and
6, and that keeps these notes on the beat.
Since it's a major 7 chord,
there's really no way to add
a note between here and here.
I have some synthesizers that could do it.
So we add the note here.
And the fingering goes 1 2 3,
1 2 3, 1 3, 1 2 3, 1 2 3,
1 3, 1 2 3, 1 2 3, 1 3 1.
two groups of 3 and a group of 2.
I use the 3 on here, you could use the 2
if it feels more comfortable to you.
On the C-sharp I'm talking about.
But somehow to me I've already got my
third finger going on the black notes.
And it's a simpler thing for
my brain to digest, I guess,
to keep it to 3 when I get [SOUND],
on the way down it's the same fingering.
So 1 3 1, 3 2 1, 3 2,
1 3 1, 3 2 1, 3 2 1.
When we play it from
different scale degrees.
You just start
with whatever finger
is on the chart.
There is a PDF of course,
of these as well as PDFs of all
the other bop scales fingered
the way I would finger them.
If for some reason you find something
that's really just way more comfortable
for you, this is jazz, you finger it the
way that you feel most natural about it.
And practice these in the way
that we've been practicing.
So the metronome
on 2 and 4,
like this, or
Practice different dynamics,
play them straight.
In the next couple lessons we're gonna
introduce a new play-along track,
which is kind of a funk track,
that's a whole different exercise
in what we're after with our time.
And the Latin one that we're
gonna introduce later as well,
you're gonna be playing much
more of a straight feel,
although we still swing it just a little
bit as a way of making some notes
kinda disappear, and
exaggerating our articulation.
If you play it a little behind the beat,
it's somehow you get a little less,
you attach a little less importance
to it unless you're accenting it.
So work on these in the way we've
been practicing our scales, and
we will work on introducing our
approach patterns to these next.