Time to go back and
revisit our Blues tracks a little bit,
because now we have
a number of other tools we
want to bring in to play
as we work on this thing.
I'm gonna start looking at it, I'm gonna
do a Blues in E I'm gonna record this so
that we can make a PDF of it and
you can kinda of examine what I'm
talking about after the fact.
I'm going to look at this one maybe
a little bit more as focusing on
the altered stuff that we've been doing.
So when we hit the one
chord which is the E
altered seven, I'm going to play
I'm gonna play our altered bop
scale when it comes by.
I'm gonna play.
That's our G minor seven.
Pentatonic scale over it.
When we get to the A,
if you play that as an altered chord,
it doesn't want to resolve to the E.
It wants to go down to D.
Whereas the E really does kind of
badly want to go, to the A seven.
We're going to leave our
A seven as a natural 13 chord.
Then when I get to the two five at the
end, the F sharp minor seven to B seven.
Let's play those as our minor
seven flat five chord, and
this the B seven as an altered,
which I tend to do that in any case.
So the scale we wanna
use on those of course.
That's our A minor 6 pentatonic and
also we go with the A minor bop scale
if we're gonna use a bop scale on it.
On our B seven we're gonna use our D minor
seven pentatonic scale and the B altered,
Our B altered bop scale, when we hit that.
Really a nice sound here.
Good pentatonic action there,
walking up from the G.
Same thing with the altered
voicing walking up from the D to here.
This one, at the end,
since it's not really going anywhere,
I'll probably sit on some
more natural stuff there.
We've also explored the possibility of
playing the E 13 as a natural for
And then in the last bar,
we go to the altered.
So I may do a little bit of that too.
We'll kind of review the resources that
we've collected at this point, but
again we're going to focus on kind
of the altered and minor world.
The darker world of this stuff.
So let's play our blues track.
In E, I'm going to play it
at 140 beats per minute because at this
point we should probably these resources
together to the point where we can
play at a little bit brisker tempo.
As the tempo reaches more of
kind of the sweet spot or
the comfort zone it starts to push
you along in a way that makes
it a little bit easier to get
your rolling swing feel going.
[SOUND] Let's start out
here by just comping
a little bit with our right
hand on our three note
voicings as if there were a soloist out
Minor 7th flat 5.
Of course those half step resolutions
are more compelling than a whole
Check that voicing right there.
What that was was just our
third gospel voicing thing.
Kind of on a little bit more
of on an upper voicing.
I'll do it again.
Just guide tones.
There it is.
I'm just playing what we've talked about
in terms of triadic
voicing on a 7th chord.
Here I'm gonna play it
on the E minor 7 now.
Let's start digging into our bop scales,
bearing in mind that we're kind of
looking at this as
an altered minor-ish blues.
There I put a C minor six
pentatonic on our B altered scale.
There I played the inside pentatonics
on the F sharp minor 7 flat 5,
which of course is
the A minor 6 pentatonic, and
then I went with the D
minor pentatonic on the B,
let's do it again
There a little
you can here me just kind of coming
down the scale right in order and
closing out with an approach pattern.
patterns in a row.
And there what I did, I found a little D
minor triad within our pentatonic
scale on the B altered.
And I just arpeggiated that for a second.
A minor triad somehow isn't
quite as strong as a major.
Check this out.
What I did there, I played an E
triad on top of our F sharp minor 7
flat 5 chord cuz that natural 9 on there.
[SOUND] Is a really beautiful sound.
And then when I got to our B7
This time, I went with an F Major triad.
So we've covered our Pentatonics.
We've got our approach
patterns burning in there.
We've got our altered bop scales going.
The next thing we're going to do.
And we also put in our first substitution,
which is our D Minor,
pentatonic scale over the B altered,
we did some motivic playing in there,
and I went long form with that.
Which is to say
that's one whole phrase.
Kind of, so much of it is similar,
that it's obviously building on the story
that I told with that first little phrase.
But, then at the end,
I'm kinda twisting it up.
And, if I wanted to do one more thing
classic blues idea, you'd state a theme in
the first four bars,
the chord changes under it and
you kind of restate the theme but
now maybe it's a little bit different.
If there were words to this they would
be the same in both of those things.
And then the punch line comes
in the last four bars over
now our minor seven flat five
to dominant altered voicing,
and that one it's got to be related
to what you did, but again, that's
where the words, the lyrics actually
change and the story is brought home.
Have fun with your blues on this.
Do it in as many different
keys as you can.
What we're starting to do here is we're
starting to substitute onto things.
And you'll find, for example,
here I actually did this for
a second on one of these chords.
It was on our B seven altered.
What I did, and
we'll cover this in a future lesson.
I actually snuck in a C Minor bop scale.
Again, that's a question of,
what's it putting on the beat?
It's giving me that sound.
A real particular kind of sound.
If I were playing on a C altered
though I would need to have.
The C sharp minor bop scale under my
fingers if I wanted to make
this same substitution.
So keeping this burning in all
keys is really important and
there are PDFs that cover my fingerings.
On everything we're studying.
But again, if you find something that's
more comfortable for you go for it.
The idea is to get this where you
don't have to think about it,
and if I can help you by putting my
fingering on the PDF, that's great.
But if you've got something that works
better for you, by all means go for it.