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Jazz Piano Lessons: Our First Substitution

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[MUSIC]
We're getting to one of my very
favorite parts of this
series of lessons or
in any lessons I teach.
Which is we start to take
resources we already know,
stuff that we've already developed.
And repurpose them in a really
cool way to give us new and
hipper flavors on different chords and
what I'm going for here, we're gonna
discuss our first substitution.
And substitution is one
of the great things,
any great soloist is constantly thinking
of alternate pathways to get places.
And as I've mentioned before,
if you really wanna make a musician laugh,
pick a really interesting way to get
there that they haven't heard before.
This one is a really simple one and
it answers the question that we haven't
answered yet which is what pentatonic
do you use on an altered seventh sound?
There's our C7 and we don't that's
the chord we don't want to hear these.
You don't sound like you know what
you're doing if you got those in.
But those are in our basic,
[MUSIC]
C7 pentatonic, which is actually of course
as we've discussed,
the G minor six pentatonic.
Let's take a look at what we could use.
And there's a couple
different ways to go here.
And I have a strong preference for
one but I use them both.
[NOISE] There's our chord.
What we're looking for here is notes,
I don't wanna use the word legal,
but notes that are good tensions
on our C altered chord.
We've discussed this before.
There's the flat nine, there's a sharp
nine, there's the flat five, or sharp 11.
[SOUND] That's a good one, the A flat, and
then of course the B flat is good and
I'll be darned
if those don't constitute an E
flat minor pentatonic scale.
[MUSIC]
And that's a really
great sound to me.
What we're doing there is when we hit this
chord, we're gonna play at least the guide
tones down here, so
that people have a frame of reference.
But then we're playing
this whole collection.
[MUSIC]
Little approach pattern stuck
in there in the middle you heard.
So that is a really good
substitution to play.
It lets you move quickly
on an altered chord.
[MUSIC]
Closed out with an approach pattern.
[MUSIC]
So look at what we're doing there.
We already have our pentatonics,
our basic pentatonics under our fingers.
And now we're gonna start to look at a way
that we can use that same information.
We've already figured out
how we're gonna finger it.
Once again it's one, two, one, two,
three, one, two, one, two, three, one,
two, three, one.
Like this.
There's one more that fits on here
though that comes right to mind.
Take a look at this.
[MUSIC]
There's our flat nine.
Major third is cool on there.
There's our G flat which our flat five.
Flat 13.
Flat 7.
And by golly, if that isn't a C
sharp minor six pentatonic.
[MUSIC]
Again, I'm resolving
to our F minor seven.
Because that's what the more
didactic among our community would
say this chord is for, is going
down to resolving to a minor chord.
So this one there's something about it.
There's not quite as thrilling to me
because we're wasting an opportunity
to put a hipper note on and
putting our third in this one instead.
Whereas this one,
[MUSIC]
it does include a chord tone, but
it's one of the upper chord tones and
the further you go up kind of
the more exotic things get.
So I'm gonna play a little bit now
on a let's do a two five to C.
And I'm gonna work out on the,
it's gonna be, right,
the B flat minor seven pentatonic.
You can also go with a B flat minor six,
but same problem.
Why put the tonic in there
when you could put that
something that's more
interesting in there.
And you'll notice that I really
wanna keep the harmony going here
cuz let's purge our
brain a little bit here.
I'm just gonna play some random chords.
And it's like eating a piece
of ginger after you eat sushi.
If I'm doing this,
[MUSIC]
it sounds a little funny.
In context, if I'm providing you this
[MUSIC]
now you hear what I'm working against, and
it kind of comes into focus and
makes sense.
Let's play with our two,
five, one track to C, and
I'm gonna play probably various
qualities of the C down there.
I might make it a minor, I might make
it a dominant, I might make it a major.
What we're looking for here,
though, is going to be our
[MUSIC]
Minor seven flat five to minor seven flat
five in this case which is our D,
F, A flat and C.
Then we're gonna go to the altered chord.
[MUSIC]
And I'm gonna use that pentatonic.
You'll hear a lot of our mechanisms go by.
Tie it together with
some approach patterns.
Maybe I'll do this too.
[MUSIC]
That's our crossover pentatonic exercise.
Anytime you can work that in to your line,
you can be extra proud of yourself.
[MUSIC]
[MUSIC]
What we have here
is our two five to one track
to C at 110 beats per minute.
And I'm doing the one that has two
bars of our D minor seven flat five.
Two bars of the G7 altered and
then four bars of whatever quality of C,
I want to put down there.
[NOISE] There's our
D Minor seven Flat five.
[NOISE] And there's our G seven altered.
[NOISE] Let's go with a C Minor here.
[NOISE] Let's start with some fragments
on our D Minor seven Flat five.
[MUSIC]
Bobbled it a little bit, but
you heard an approach
pattern to close that out.
You also heard a little bit of our
crossover pentatonic exercise.
[MUSIC]
Check
that out.
[MUSIC]
Couple different approach patterns,
putting it together and resolving to the D
[MUSIC]
on our C Minor seven.
[MUSIC]
There what I did,
I'm playing down the B
flat seven bop scale,
to cover our D minor seven flat five, and
as soon as I hit the G,
I just kind of altered up
that scale to continue on down like that,
and
then closed it out with a little
bit of our B flat minor,
pentatonic over the G seven altered.
[MUSIC]
What I did there,
the D flat major triad,
is built in to our B flat
minor seven pentatonic.
As you can see that those
notes are right in there.
And since that's a good, here it is again.
A good upper structure triad,
on our G minor, or
G seven altered, I stuck that on there,
and arpeggiated that.
Check this out.
[MUSIC]
What I did there, and
I should've done it all while
we were on the G altered.
But, since the E flat is a good,
upper structured triad,
I started out arpeggiating that,
then went to the D flat.
[MUSIC]
There I did it the right way.
Started out by arpeggiating
an E flat triad,
which is cool on our G altered chord.
Then moved to a D flat triad,
which is also cool on there.
And the changing combination of
tensions gave it a nice motion.
[MUSIC]
What I did there,
is I used a pentatonic
on our minor seven
flat five chord.
Really simple.
It's the F minor six pentatonic.
[MUSIC]
There's something
we're gonna cover
in a future lesson.
[MUSIC]
Approach
patterns in and out.
You could really make some
progress here check this.
[MUSIC]
That's just double-timing
it on this very simple F minor six
pentatonic on our D minor seven Flat five.
And then double-timing it
up again in some variety.
That was kinda lumpy,
but you get the idea.
[MUSIC]
Check it out,
how great it sounds to
have that expansive,
wide open sound from our pentatonic.
And then tighten it up for
a second with an approach pattern, and
then continue sweeping up or
down the keyboard.
A lot of good sounds in there,
a lot of information,
a lot of fun stuff to work with.
That's our minor two-five.
In our next lesson we're
going to start to get into
some stuff that I really enjoy,
so I'll see you there.
[MUSIC]