I'm gonna take a little break here and
just give you a sneak preview of some
of the good stuff that's coming up.
We are working on playing really
in sync kind of consonant.
We're, basically what we're working on is
playing classic bebop in which the chords
are something that at this level,
we're working within.
We're coming up to some lessons on ways
to expand that and introduce a lot of,
kind of sophisticated colors that
let us take something like this,
and we're going to maybe do this on it,
do this on it.
Something like this, and
what we're going to do is
we're going to alter the dominant chord.
So it's going to be E minor,
and then instead of this
variety of A seven which includes
Includes the chord tones from our
basic seventh chord bop scale.
We're gonna kind of mess
it up a little bit.
We're gonna add some
So what I've done here is I've got
the two five to D track going,
and the one that I'm playing
is a two bars per E minor and
A seven to four bars of the D.
It's basically expanded
by a factor of two.
That gives us a little more time to
work something in there against it.
And I'm gonna play several
ideas when we get to the A.
And, just give you an idea
of the flavors that we're
gonna have under our fingers
as the lessons progress.
Here's our E minor seven.
Here's an A altered chord.
to our E minor
Those are a series of upper
structure triads which we're gonna
start working on in future lessons.
What I did right there,
is I substituted our B flat minor bop
scale onto the A minor seven,
which gives us all these notes
on the beat which is really a cool way to
get additional power to your resolutions.
Let's go with the A Lydian sound.
Again with the A Lydian.
What I'm doing there is adding
the sharp 11 onto the chord.
Right there I'm putting a C
minor pentatonic on it,
which gives us all these great notes.
That's just a little bit of an idea of
the kind of thing we're working toward,
that when you hit these dominant chords
especially, you just have this real wealth
of different harmonic colors
to bring to the party.
And it all uses stuff that
we've already learned.
And that's the cool thing about it.
Is for example when I was playing
the B flat minor pentatonic.
That's something that we will already
have learned in its basic form, now
we're just putting it on a different chord
and we're getting these notes on the beat.
Which outline a different place for
us to go.
When we substituted the C minor pentatonic
on there, look at what you got there too.
You have all these extensions.
I just wanted to give you some idea of
where we're heading with this stuff,
and impart there that the things
that we're learning now,
they're kind of elemental
over their basic harmony.
But the minute we start substituting
them onto other harmony and
all the fingering is the same,
the approach pattern idea is the same.
Now we've got this stuff that's much
more compelling, our solos take on
layers of additional harmonic color and
it's really almost like a freebie,
because we've already had this stuff
under our fingers for a while.
So let's continue on from here.
I just wanted to give you a quick preview
and I'll see you for the next lesson.