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Jazz Piano Lessons: Substituting Pentatonics for the 2nd Chord

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[MUSIC]
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.
[MUSIC]
To go there and
since this is
all happening
over this route
[MUSIC].
We can start to have some fun
combining the stuff that we're
already working on our C model thing.
[MUSIC]
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
[MUSIC]
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.
[MUSIC]
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.
[MUSIC]
See what's
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.
[MUSIC]
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.
[MUSIC]
Let's put
in a little
bit of our,
maybe arpeggiated
triads in here.
As long as we're looking
at this as a C altered.
[MUSIC]
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.
[MUSIC]
It's
another way
to go right
there.
[MUSIC]
Try this
[MUSIC]
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]
[MUSIC]
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.
[MUSIC]
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
[MUSIC]
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.
[MUSIC]
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.
[MUSIC]
There's
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.
[MUSIC]
Now I'm
gonna add
the chords
in the left
hand.
[MUSIC]
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.
[MUSIC]