We're back, and we're taking
a look at putting minor major seven in for
a second as we play on a minor modal song.
I've moved us up to F minor for
no particular reason,
other than that, to remind you
that we need to be working on this
kinda thing in as many keys as we can.
Cuz you're gonna find yourself sitting on,
I mean, occasionally I even get
a thing where it's my turn to blow, and
it's A-flat minor for a really long time.
So work these up in all
the different keys.
Same principle applies here though.
[SOUND] There's our F-minor nine chord,
the guide tones, third,
minor third, minor seven.
And there's the nine.
And by way of giving us
another place to go,
we're gonna make that E flat into an E.
You'll learn to recognize this, and
we have ear training exercises
that are coming up that will help.
So the scale that we would use on
this if we were doing a pentatonic
thing on it is again the scale built on
You recognize that probably from
a lot of maybe records from
the 50s that were really starting
to get into this kind of sound.
Some of them maybe had some
strings on the back and so forth.
Let's figure out a bop scale
that we can use on these.
And what we're gonna do
is we're going to take
the dominant seventh
chord built on the five.
And it's very similar to our
altered dominant scale.
If it's a C altered chord,
if you remember that.
Let's take a look at what that's going to
put on the beat.
There's our F minor major seven chord.
Those are great.
Those notes on the beat,
you really can't beat that.
The one question we have, though, is this.
I think it's
actually better if we leave
this at its natural.
Cuz that note is a good tension.
That belongs on our F minor major seven.
This one doesn't really,
although it is a passing tone.
When I hear this,
that says to me oops substitute scale.
When I hear this though,
that sounds like a tailor made scale.
And it is once again putting our,
accentuating our E and
the difference in what we're doing
here by putting it on the beat.
Let's play a little bit with an F minor,
And I'm going to use this scale which is,
[SOUND] a C dominant scale
with only the 13 flatted.
The A turned into an F to an A-flat.
[NOISE] One, two, three.
what we are putting
on the beat is cool
Since we have this kind of
nebulous chord that doesn't really
wanna resolve anywhere,
we're accentuating the interesting, weird,
mysterious notes from our scale.
Kind of an interesting
approach pattern there.
Go back to
our regular minor
[SOUND] This is another way to voice this.
When you go to this scale,
the minor major seven sound,
you don't necessarily have
to put that in the voicing.
This is an F minor 13 voicing which looks
suspiciously like our B flat 9 voicing.
In fact, it is the exact same voice.
Let's go like this with it.
See, it's enough to get that color in,
to just play it with your right hand,
long as it's on the beat.
a look at what we would
do to put together
a scale that puts our
note on the beat.
Work on that when you're
playing whatever key you're in.
If it's in here, it would be [SOUND],
would be the A 7 with the flat 13,
because that of course,
especially on the way down,
that doesn't belong.
[SOUND] And add that into your practice,
and I'll see you for the next lesson.