a minute to review.
We've learned a lot of stuff at
this point in these lessons and
I wanna make sure that none of it kinda
gets orphaned or left by the roadside.
Because it's all really kind
of essential building blocks.
Here's what we've got going so far.
We have an array of bop scales.
We have our major ones.
We have our minor ones.
We have our kind of basic
dominant ones on seventh chords.
We have ones that we've altered up
to work on altered seventh chords.
And we've probably done at
this point a lot of practicing
on these, you know, working from
different scale degrees and so forth.
I think we've covered eight of
the 12 dominant bop scales,
which is great,
that's giving us the capacity
to play a lot of this stuff that
we find in the real book already.
So we've got that, at this point
we have three approach patterns.
That of course double chromatic from above
to chromatic from below and
then we've got sort of its opposite.
Double chromatic from below.
[COUGH] To scale tone from above.
Then the third one we did was note from
above or if you want, chromatic from
above to the double chromatic from below.
And we're gonna learn our fourth approach
pattern coming up in the next few lessons.
We have good strong pentatonics for
all the four major chord types.
That is of course the most inside one on
a major chord.
But what we've been doing with
that one is using the three minor.
Of course, the E minor
7th on a C major 7 chord.
On a minor chord,
[SOUND] we're going ahead and
the root position minor 7th pentatonic or.
Use the minor 6th and
get that little rubbing A on there,
which is nice.
On dominant chords,
the most inside one is the 5 minor 6.
Or on a C 7th chord
it would be the G minor 6.
And then we've got this nice
substitution that we're using here.
On an altered chord we will use
the flat 3 minor 7 pentatonic.
Which of course really just adds up to
being a collection of great tensions that
we can make a five note scale out of.
Minor 7 flat 5 is our last core
quality that we looked at and
we've got the bop scale for
that being the flat 3 minor.
Anytime you're kind of at a loss for,
you know, gee here's a,
an A flat minor 7 flat 5.
What would the scale be for that?
Maybe if you just kinda take a look at
what the cord tones are and how would I
construct something on that that would
put those chord tones on the beat?
Well, let's put that note.
And you're gonna end up organically
just finding the B minor 7 bop scale.
And it's the same down here
with our C minor 7 flat 5 scale.
It's the E minor bop scale and then we've
got our E minor 6th bop
scale is the inside scale.
The most in sync scale to
use on C minor 7 flat 5.
We've been looking at some different
ideas from motivic playing and
I remind you again that any solo
on Kind of Blue is a study.
It's like that was, those guys
were just so into that that day.
And there's really great footage on
YouTube, actually, of those sessions.
And it's fascinating.
You always wonder,
you listen to the record.
And you always wonder,
what could that session have been like?
And on these YouTubes
you see guys smoking,
like Miles and Cannonball are smoking over
there, and they're talking quietly amongst
themselves while John Coltrane is
blowing the solo on the record.
And you can easily imagine
Miles sets the tone in my
opinion that we're going to play so
one idea's gonna follow the next.
Take those motifs from Miles.
That kinda thing,
great way to develop your
own sound as we've talked about.
We've talked about the arpeggiated
triads and upper structure triads.
When I'm on a major chord,
if I've arrived at this.
I'm not gonna do that,
I'm gonna use sunken.
I'm gonna do something like that,
I'm gonna use something that
puts some kind of tension notes,
or extensions on there.
That was a G triad, that puts our D and
our B on there, so I don't sound so
elemental or elementary I guess
is the word I'm looking for.
The other upper structure triads we've
looked at on a G altered chord or
any chord, it's the flat 6 major.
And maybe the 6 major.
And then on our minor chord we
use the flat seven major chord.
So we've discussed those
as melodic techniques,
we've started to look into our 9th and
13th voicings in the left hand.
Here's our C 9, here's our F 13.
As a way of comping with our left hand,
we started out just with the tri tones,
which is still something you can go for,
I hear Whiten Kelly do it all the time.
We've talked about upper structured
triad voicing for two-handing comping.
The most simple one being the 6 minor,
which just gives you the 13.
And the flat 6 major, which gives you both
the sharp 9 and the flat 13 great voicing.
We talked about working these guys out on
the cycle of fifths.
PDFs for all this stuff.
So, if you find yourself stuck for
an idea for how to finger something or
you want to look at a chart while you
do the cycle of fifths, it's on there.
We talked about our diatonic parallel
triads, kind of our gospel feel voicing.
That kind of thing,
and we really have a lot of
different ways to go.
Even in the middle of a solo,
if we're on a piano solo.
Take a break from the lines,
from the more single note stuff.
All that was, of course,
is moving our triads down by scale,
tone, and with each one of those
I'm greasing it up with the left hand
like that and doubling the high note.
So just to make sure that we're
kinda keeping every burner on and
burning, there's a little
review lesson for us.
Let's move on.