We discussed in an earlier lesson,
[SOUND] our minor major seven sound,
which it's very much the same
as the regular minor.
With the raised seven so
that it's a major seven up there.
And at this point let's take a minute and
consolidate the stuff that
we've been working on.
Cuz it's kinda a cool sound.
If we're really gonna go out here.
To go there and
since this is
over this route
We can start to have some fun
combining the stuff that we're
already working on our C model thing.
For the time being, I'm gonna put
the metronome on two and four, and
go through some of the resources that
we've developed that we can put out on
this C minor seven.
And just kinda put some together and
have a little fun with it, and
I'll talk about what I'm doing as I do it.
[SOUND] Let's play this with
a metronome for a minute.
Here is the basic thing we are gonna
be working on, in it's actual state,
cuz I'm at, I'm moving the bass with it.
C altered 7 to F 13.
happening in there?
I'm taking bits and pieces of our E flat
minor pentatonic over the C altered chord.
And I'm hinging into my F13
with an approach pattern.
Making pretty kinda standard
bebop lines and coming in and
out in a bebop ish way although
we're using this pentatonic scale
which gives a real different kinda
stark tension ridden thing to it.
in a little
bit of our,
triads in here.
As long as we're looking
at this as a C altered.
What I'm gonna do is
I'm gonna start resolving
our altered thing to this,
which on this chord is
maybe a 7 sharp 11 but
over our C in the root is our
minor major seven chord that
we were talking about.
So let's do that some.
Two, three, four.
to go right
all I'm doing right there,
I'm using our A flat triad over the C
altered then going to the G triad
right below it and you could have all
kinda fun making these [SOUND]
these weird kinetic lines,
just playing a triad
arpeggiated moving it up and
down a little bit in half steps.
When we get to our, to this chord.
Remember to try that
a D minor 6 pentatonic.
Something that kinda rotates
through putting that B on the beat.
You can have a million
miles of fun with this.
Kinda mixing it up.
And what we're trying to do is develop
a vocabulary of places for you to go.
Other than playing inside the C minor
chord, because you can do a lot.
Especially if it's mabye a front groove or
something like that.
You can do a lot playing
all of that whatever the mechanism,
it's all very inside to C minor, but
starting already with
John Coltrane's playing
in the middle to late '50s, it became.
He really opened the door to writing
your own song over these things.
I mean as I mentioned that's
what giant steps is about.
Let's try a little thing of that.
I'm gonna put up a track here.
If you remember,
I mentioned that these chords,
[NOISE] are really a replacement for this.
And just as a little indicator of how
sophisticated he was with
this stuff back when he
kinda really got it going,
let's take a listen to that and
some other ideas on our play along
track on C modal minor at 110 BPM.
our C minor tonality.
And remember what giant steps was
a two five to E flat major 7 which
I just played right there which is
essentially the same as C minor.
So let's play a little bit
of giant steps into this as
a way of targeting the upper
part of our C minor 7.
in the left
What we're looking for
here is not the idea that we're gonna
start substituting giant steps onto
here as a quick history lesson though
to where the idea of substituting
your own chord progression your
own alternate harmony on to things
that was really a milestone in it.
Was that record and he was already using
this in his playing on a modal piece.
[SOUND] It's on kinda blue,
it's on various other things, Mr.
PC is another good example where you
can hear him working this stuff out.
So there's a look at our
first set of options on
places to go on a minor Modal piece.
And it starts really with just taking
it out of the minor thing and getting
yourself out here to an altered dominant
where a world of possibilities open up.
And we'll take it from here.