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-[ Julian] How’s it running guys? Julian Bradley here from the Jazz Tutorial YouTube channel. I hope you’re doing well. And in today’s video I’m going to answer a common inquiry which I get, which is, “Which scale should I play with each chord form, “and how can you tell which scale to play “with each chord type? ” Now, often, you’ll get a jazz piano volume, and you’ll “re going to the” back of the book, and it will roster a load of magnitudes, and it will say, “When you see this type of chord, play this scale, ” but it won’t actually explain how this works. So personally, I never look at the back of the book to appreciate which scales they indicate. Personally, I like to figure it out from scratch, and I do it merely using a simple principle which I’m about to show you.( Latin jazz) So when I’m opting which scale to play over any chord type, there’s a simple rule which I like to follow.
I’m going to call it the chordal atmosphere plus whole step technique. Here’s how it runs. Let’s articulate we have a C major 7 chord in the chord sheet, and we’re going to start by putting the chordal flavors in our magnitude, so that’s the root, the third, the fifth, and the seventh. All of these have to be in our scale made in accordance with the chord that’s also being played at the same hour. So C, E, G, and B. And then we’re going to add a whole step above the root, third, and fifth. Whole step up from C gives people D. Whole step up our efforts to from E gives people F sharp-worded, the sharp-worded four. Whole step up our efforts to from G gives you A. And then you have B and C, we already know those notes. So which scale do we end up playing over a C major 7 chord?( plays C Lydian scale) This is called C Lydian scale, and this is the scale that I most often play over major 7 chords. So now let’s apply this is something that another type of chord. Let’s tell we have a C minor 7 in the chord sheet. Which notes am I going to end up playing in my scale? Well, we start with the chordal tones.
C, E flat, the third, G, the fifth, and B plain, the minor seventh. So our scale has to have these chordal tints. Now let’s add a whole step to the root, third, and fifth. C up a whole step renders us D. E flat up a whole step devotes us F. G up a whole step affords us A. And then we already have the B apartment and the root.( plays C Dorian scale) And can you tell me which scale this is?( improvises in C Dorian) This is C Dorian scale. It’s basically a minor magnitude, but with a major sixth. And this is the scale that I most often play over minor 7 chords. Let’s take another example. Let’s mention we have a C dominant 7 chord in the chord sheet. Which scale are we going to end up playing? Chordal tones first. Root, major third, fifth, minor seventh. And now we’re going to add a whole step to the root, third, and fifth. C up a whole step imparts us D. E up a whole step passes us F sharp-witted. This is that nice sharp-worded 11 over the dominant 7 chord.
This is going to sound nice and jazzy. G up a whole step affords us A. And then we have B flat and C.( plays C Lydian Dominant scale) Do you know which scale this is called? Well this is called C Lydian Dominant scale. It’s the Lydian scale up to the fifth,( plays bottom part of C Lydian scale) and then it’s the dominant magnitude, which is also known as the Mixolydian scale, from the fifth up to the root.( plays upper part of C Mixolydian scale) And this is a very nice scale. This is a extremely jazz magnitude. You won’t really encounter this magnitude in any other genre of music other than jazz. And this is one of the scale of assessments which I often play over reigning 7 chords.( plays C Lydian Dominant scale)( Latin jazz) So you might think that using such a simple principle are generating scales which sound bland and, as your best friend Ray Huckell would say, vanilla.
However, that’s not the case at all. Each of these four magnitudes that are generated from these chord sorts, when you follow the present rules, are very sophisticated-sounding scales. We have the Lydian scale.( plays C Lydian scale) That is a nice magnitude, always sounds good. We have the Dorian scale.( plays C Dorian scale) And again, that’s an unusual scale. It’s not a standard major or minor scale.
Then we have the Lydian Dominant scale. This is a very sophisticated-sounding magnitude.( plays C Lydian Dominant scale) So I don’t want you to think that this is just a simple trick for novices. This is actually what I do about 70% of the time when I’m playing, and certainly, if I don’t have any better ideas for a scale that I want to play, then I will always resort to this rule, which I call the chordal tints plus whole step govern.( Latin jazz) So merely to purpose this video, let’s try going through a jazz standard. We’re gonna go through Misty, the opening up of Misty, and we’re gonna try making magnitudes utilizing the present rules to go with each of the chords.
( “Misty” by Hoagy Carmichael) The carol starts on an E flat major 7 chord. Which scale would we play if we were playing a solo? Chordal atmosphere first. E flat, G, B apartment, D. These have to be in place. Now let’s add a whole step to E flat passes us F. G devotes us A. B flat presents us C. And then we have D and E flat. So the hell is E flat Lydian scale to start with.( improvises on E flat Lydian scale) That sounds great. Next chord is a B flat minor 7 chord. Which scale shall we play? Chordal tones first. B flat, D flat, F, and A flat. And then we’re going to add a whole step to B flat presents us C. D flat renders us E flat. And F dedicates us G. So that’s B flat Dorian scale.( improvises on B flat Dorian scale) Next chord is an E flat prevailing 7 chord.
Which scale shall we play? Chordal atmosphere firstly. E flat, G, B plain, and D flat. And then add a whole step devotes us F, A, and then B flat up a whole step presents us C. And we end up playing E flat Lydian Dominant scale.( plays E flat Lydian Dominant scale) And then one final chord for this lesson. It goes to A flat major 7. Which scale shall we play? Chordal atmosphere first. A flat, C, E flat, and G, the root, third, fifth, and seventh. And then we’re going to add a whole step to these three tones. Imparts us B flat, D, and F. And we end up playing A flat Lydian scale.( plays A flat Lydian scale) So I suggest that you go through one of your favorite jazz standards and practise applying this technique. And the first few periods you do it, you’ll be figuring out the scale of assessments from scratch. Nonetheless, fairly quickly, you’ll start just remembering that every time you ensure a major 7 chord, that means you play the Lydian scale, and each time you ensure a minor 7 chord “youre playing” the Dorian scale.
The dominant 7 chords, you play the Lydian Dominant scale. And occasionally, when you get these minor 7 flat 5 chords, you play the Half-Diminished scale.( plays C Half-Diminished scale)( camera shutter clicks)( improvises on “Misty” by Hoagy Carmichael)( Latin jazz) So I hope this video helped you. If you enjoy this video, I’d genuinely acknowledge a thumbs up, and if this is the first video of excavation you’ve seen, make sure you don’t miss out on future videos by subscribing to my channel. Now if you’d like to receive weekly jazz forte-piano tips-off by e-mail, they are able to click on the link below, and they are able to join my jazz forte-piano newsletter, and every week I send out tips-off just like this. In fact, this lesson was taken straight-from-the-shoulder from one of my e-mails. And I put a lot of try into my e-mail newsletter, and I genuinely try my best to make it the best jazz forte-piano newsletter in the world. You can subscribe for free simply by clicking on the link below. And apart figure that, I’ve set some other connections below this video, to some of my other jazz piano sheet music.
You can download them all for free. You can print them out and play them at the piano. So I’m Julian Bradley. Thanks very much for watching. I look forward to seeing you again soon ..
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