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Jazz Piano Lessons: One More Very Simple Cadence

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[MUSIC]
So
John Coltrane.
[MUSIC]
Put that stuff in to
get to E flat major 7.
We're gonna do it a much simpler
way that's really effective.
This is one of my favorite
places to go on a modal tune.
[SOUND] We're just going to play
B7 altered to E flat major 7.
And again the idea with
[MUSIC]
There's our B flat altered.
[SOUND] There's our E flat
major 7 which is exactly
the upper structure of a C minor 7 chord.
And this is a really
simple cadence as well.
Mentally, I'm not even gonna
do much with my left hand.
Look at the notes this puts
on our C minor 7 though.
[MUSIC]
If we play it like that,
sort of using the altered scale,
[SOUND] we get that,
which is not so unusual here.
But let's start with that,
let's just play this cadence a little bit.
[SOUND] I'm gonna put the metronome on and
work out a little bit for
a second on our altered dominant chord.
[MUSIC]
Then I'm gonna put that same
thing on our C minor modal track.
And you can hear that there's
something going on there,
we're taking it in and out, and
then once we move to our pentatonics,
you'll really get the flavor of this.
[MUSIC]
One, two, three, four.
[MUSIC]
So you
can hear that
that really
just sounds
like straight
up bebop.
Once we get it over our C stuck in the
base, it sounds like we're weaving in and
out of a different place, and
that is what we're looking for here.
It works pretty well with the bop scale.
Where it really shines though, is when
we start to use the pentatonics on here.
Let me start with the bop scale
over our medium tempo C minor
modal track, and let's get a feel for
how that sounds.
Two, one, two, three, four.
[MUSIC]
Here's just some C,
[MUSIC]
some C minor stuff to
establish where we are.
Let's go
in with our
[MUSIC].
Right there I just played
the bop scale straight up,
hinged in with approach pattern.
[MUSIC]
More B flat bop
scale with approach
patterns hinging it together.
[MUSIC]
Gets a little confusing
when we add the left hand in there but
I'm trying to illustrate
where we are as far as starting
with a B flat altered and
moving to the E flat major 7.
Now let's take in our next lesson,
we're gonna
do our standard issue thing
where we use the flat 3
minor 7 pentatonic over
the altered dominant cord.
And this produces a very strong, very
coherent sound, it's a lot of fun to play
with because the ways to create the
tension and the resolution are very clear.
So let's visit that in our next lesson.
[MUSIC]