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Jazz Piano Lessons: Essential Jazz Scales: C7, F7 & Bb Major 7 Bop Scales

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[MUSIC]
We've finally arrived
at the most commonly played
sequence in the history of jazz.
The two, five, one to B flat.
[MUSIC]
And I think that part of the reason that
everybody wants to play in B flat
is because it's a very comfortable
combination of a couple of black notes in
there to help keep your hand anchored.
But not, it's not like playing in C
sharp minor or something like that.
Let's take a look at our bop scales for
this,
[MUSIC]
and how we would finger those.
What we're gonna do first is take
a look at the chord tones of C minor 7.
Once we get this two five sequence under
our fingers, we're ready to play tune up.
[MUSIC]
There's our C minor triad.
There's our seventh on it.
And as ever, we're going to have
[MUSIC],
add that little passing tone between five
and six so
that we keep the chord tones on the beat.
[MUSIC]
That's how we do it.
To finger it, lets start with the third.
[MUSIC]
This is a little bit of an unusual one for
me.
Three, one, two, one, two,
three, one, two, three,
one, two, one, two,
three, one, two, three.
Again, somehow it happens that we're only
really using three of our fingers on this.
But it's a very efficient scale.
[MUSIC]
You wanna get that
level of fluidity to it.
You notice that the wrist
[MUSIC]
I should put a nickel on there and
see if I can still do it
like I did when I was a kid.
As we play up the different degrees,
[MUSIC]
there are PDFs with all these fingerings
on there, so
I'm kind of showing them to you but,
it's probably a lot easier to keep
track of them by referencing the PDF.
On the way down we're going to use
the F7 bop scale starting on the C.
[MUSIC]
And that we're gonna finger as one,
three, two, one, I go with the three.
Three, one, two, three, two,
one, three, two, one, three,
one, three, two, one, three, two,
one, three, one, three, two, one.
And again
[MUSIC]
if you find it easier
[MUSIC]
actually that won't work, will it,
because we need to prepare.
[MUSIC]
That's why I'm using the three on the E
flat.
That's our C minor bop scale sequence.
We've already looked at
the downward F7 because
that's the one we're using on
our C minor to go down with.
Let's look at it going up.
Start on the two.
Again, the chord here,
there's our F major chord
at the seventh and
you make it into a dominant chord.
Start with the two.
[MUSIC]
So, we'll go two, one, two, three,
one, two, three, one, two, one, two,
three, one, two, three, one, two, one,
two, three, one, two, three, one, two.
Little bit of a different twist on
our standard fingering of a three,
three, two grouping because the two
grouping happens in a little bit of
a different place on this.
On the way down again,
[MUSIC]
one, three, two, one, two, one, three,
two, one, three, two, one,
two, one, three, two, one.
[MUSIC]
That's another approach pattern that we
have coming up there at the end.
B flat, simple.
We're gonna add that extra passing
tone between five and six.
[MUSIC]
As ever, I seem inclined to
play that with my third finger.
[MUSIC]
I think that that does have something to
do with the fact that on
the other black notes
[MUSIC]
I am using my third finger, and
it just kind of keeps a sort
of continuity for me.
[MUSIC]
And the same thing on the way down.
[MUSIC]
The chord again,
[MUSIC]
B flat
[MUSIC]
with the major seven added.
I'll reiterate that if it's a major 7,
it's labeled as a B flat major 7 chord.
If it's a dominant chord,
it's just called a B flat 7.
The fingering, start on two.
Let's start on three, actually,
for continuity's sake.
Three, one, two, three, one, three,
one, two, three, one, two, three, one,
three, one, two, three.
Same exact thing on the way down.
Three, two, one, three, one,
three, two, one, three, two, one,
three, one, three, two, one, three.
[MUSIC]
Little 13 chord for you there.
Practice these as we've been doing.
Use your jazz articulation on there.
Start with a modal track.
If you like, start with really the slowest
one so you can dwell in on your fingering,
your posture, your hand position
that you're breathing and not dying.
And just get these baked on in there.
[MUSIC]
That kind of thing you can throw
in some approach patterns,
as we've been doing.
And
[MUSIC]
in the next lesson we're gonna take a very
fast look at making these things
happen on a two five track.
It's gonna be the two bar, two bar,
four bar, two five cadence.
This is the two chord, the C.
[MUSIC]
The five chord, the F, and
the one chord being the B flat.
Then we're gonna take that track and
we're gonna shorten it up by half, so
that it's more like what
you're gonna see in tune up,
which is one bar of C minor seven,
one bar of F seven, and one bar of B flat.
I'll see you for that lesson.
[MUSIC]