Lets just take a quick listen
through to the chords we're working with.
On our one, six, two, five in B flat.
Here's the major.
[SOUND] That's the one chord.
[SOUND] Here's our six chord,
G seven altered.
[SOUND] C minor seven, [SOUND] F13.
Let's start by
getting our bop scales
going a fragment at a time.
I'm gonna start on the five of the B flat.
Then I played nothing but
bop scales in there.
I'm just gonna
All I did there,
I started with the B flat.
As I went down, and figured out
that now I'm on the next chord,
I just went right with the scale.
Let's look at that again.
If I can do it again.
That's an interesting way to do it.
Let's see if we can do
that from a third higher.
I kinda ran into trouble there cuz I,
the scale was gonna need to take a little
jump to get us on to the C minor seven, so
I just played a little approach
pattern to get myself reoriented.
Now let's work in some pentatonics and
sprinkle some approach
patterns in there as well.
You can see that I skipped a note and
just went ahead and went with a approach
pattern to put myself on target.
Let's do a more extreme version of that.
Go right up there,
just bail yourself out.
Pentatonics coming down
maybe, let's take a look.
Again, I didn't wanna end on
an E flat, didn't want that.
And I could see it
coming kind of,
Nothing but approach patterns in there.
approach patterns in there, either.
Lets arpeggiate some triads in here.
What I did there,
there's our B flat,
I used the E flat.
there we have a little interesting thing.
What I did there,
I used the D upper structure triad, and
since it works both on a C seven chord and
an F seven chord, check it out.
Let's do use the upper structure triads
arpeggiated to give our
line a real big sweep here.
There we have
an interesting thing.
Take a look at the upper structure
triads I used in that one.
It's a real simple idea.
F over a B flat, E over our G altered,
D flat over our C minor and
D over our F seven, and all I'm doing,
it's just a variant on an exercise that
you may have done when you were seven.
You arpeggiate the triads.
And boy, do you sound hip for
next to nothing because
[SOUND] just by breaking them up.
If you want, practice those like this.
Just triads is all that is but
it puts really cool
notes above your chord,
makes people wonder what
the heck is going on there.
And as I've mentioned before I love the
fact that when you play these triads they
kind of rotate around
between what's on the beat.
Look at this one for example.
There's our D triad over F seven.
When I play it,
Okay there is a tension on the beat,
there's a tension on the beat,
there's a chord tone on the beat.
And since it's kind of rotating
around between putting a tension or
a chord tone on the beat, it refreshes
itself in a way that's kind of cool.
That's our G flat triad over A7.
So, we've got it going on now
on these one, six, two, fives.
There's a PDF available of everything
I just played if you want to kind of
follow along and see the logic in there.
I'll see you for the next lesson.