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Hi David,
Thanks for pointing that out…it should read of the “melodic minor” and NOT “natural minor”!
Should be fixed in the upcoming update this coming week.
RichieHi Joe,
Actually the initial video on the cycle of 5ths is meant to explain how the cycle of 5ths is the basis of functional harmony. As far as when to use it to practice, I think it’s way to early in the course. You will need to learn all 7 heptatonic fingerings for any given scale or arpeggio in order to correctly practice anything through the cycle of 5ths. So, don’t worry about it for now. Just try to complete the assignments in the order they are prescribed in the main lesson book which is also the order in which the videos are introduced in each module.
Let me know if you have further questions!
Sorry David, I missed this one!
I think you are over complicating things by trying to view the half-whole (mode b) from the perspective of the whole-half (mode a). Forget the analysis of the whole-half (1,b3,b5,bb7) when doing this.For example, if you have a Dbdim7 chord use C half-whole (mode b). This way you simply view the notes for what they are in relation to C which is now the root. So Db is now the b9, D# is the #9, E is the 3rd, F# is the #11, G is the 5th, A is the 13, and Bb is the b7. It’s basically a C7b9/#9/#11/13 chord! You can do this for any diminished chord. Because it is symmetrical in nature, any of the notes can be the root. You can therefore make the new root 1/2 step below any of them and apply the half-whole or mode b scale.
Let me know if this answers your question.
You have posted this under “How to use the Forum” but I will answer anyhow…
The altered dominant is derived from the super locrian which is a mode of the melodic minor and not the harmonic minor. Bebop seldom uses the harmonic minor, instead it uses the melodic minor which is also known as the jazz minor. Although Gypsy jazz and Bebop use some of the same concepts, they differ in this and other respects.
Personally, even though I know the harmonic minor, I never use it. Furthermore, bebop isn’t about using a lot of scales, but instead a focus on arpeggios with approach note permutations from a related limited number of scales.
As far as the heptatonic system goes, it is applicable to every 7 note scale, which of course includes the harmonic minor. I just don’t teach it because it would be redundant within the scope of this course. This is the same reason I don’t teach many other modes of the major scale as well as the natural and melodic minor. Only what we need to learn the fundamentals and improvise over the great majority of standards! Once you understand how to use the scales here, you can always explore any scales not included on your own.
By the way, I introduce the harmonic minor and all its modes and provide an analysis of each one in VOL2 of the BGIS.
You have posted this under “How to use the Forum” but I will answer anyhow…
The altered dominant is derived from the super locrian which is a mode of the melodic minor and not the harmonic minor. Bebop seldom uses the harmonic minor, instead it uses the melodic minor which is also known as the jazz minor. Although Gypsy jazz and Bebop use some of the same concepts, they differ in this and other respects.
Personally, even though I know the harmonic minor, I never use it. Furthermore, bebop isn’t about using a lot of scales, but instead a focus on arpeggios with approach note permutations from a related limited number of scales.
As far as the heptatonic system goes, it is applicable to every 7 note scale, which of course includes the harmonic minor. I just don’t teach it because it would be redundant within the scope of this course. This is the same reason I don’t teach many other modes of the major scale as well as the natural and melodic minor. Only what we need to learn the fundamentals and improvise over the great majority of standards! Once you understand how to use the scales here, you can always explore any scales not included on your own.
By the way, I introduce the harmonic minor and all its modes and provide an analysis of each one in VOL2 of the BGIS.
Yes Henry, that is definitely wrong, thanks for alerting me! I have to go back and redo that calisthenic or insert a note in there.
I actually taped all those calisthenics in one sitting which was probably not a good idea…I wouldn’t be surprised if there is another one of those errors somewhere in there but the fact that you found it means that you are paying attention and understand the exercise! 🙂
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I mentioned the fingerings because you change them most of the time when you play a neighboring tone. Instead of stretching to the next string below, you move your hand back and forth out of the current pattern. This will create a series of problems down the road when the approach note concepts get more complex.
Thanks Pete, it’s an improvement over the first one! If you can, please download the newest version of the Lesson book from the dashboard. On p.36 there is a new Rhythm Templates checklist you can go through which will help you find some details you can improve.
My only concern is your fingerings. I’m curious to know why you are not using the ones prescribed?
Thanks David for alerting me! I will have them corrected and should post an updated version of Workbook 2 soon.
Unfortunately you are sending me a transcription with no notation of the intervals and the approach note concepts prescribed, which is what truly matters here. Therefore I have no clue how you are thinking in terms of both approach and target notes. When you put it in regular notation, it becomes key dependent and it is much harder to see the underlying melodic structure at first glance without going into heavy, time consuming analysis which requires constantly having to refer to the original RT.
I think you might be missing the point of the concept. The idea is to simply do the assignment in the provided RTs and then just read the intervallic script. If you are reading TAB, you won’t learn how to think in intervals and apply the concepts to improvise which the RTs help mentally train you for.
Hi Pete,
Thanks for posting!
I looked at your attachment and watched the video. Now, I don’t mean to sound harsh but your RT has many errors! Sorry, but too many to go into detail here. All I can suggest is that you go back over the fundamentals such as proper voice leading at the point of chord change and use of guide tones. Also, your note choices are poor in the development of the solos overall flow. Furthermore some of your fingerings are wrong. That said, I wouldn’t practice this in all fingerings as you would only be reinforcing lots of bad habits.Again, I don’t want to sound discouraging but I feel you could use some “one on one” guidance to go over all the details you might be misunderstanding.
Yes, the inclusion of the II-V is probably the most basic transition from traditional blues to jazz blues.
As far as borrowing from a parallel minor key goes, this is a practice that was introduced by the classical composers a long time ago. In jazz we call it “modal interchange”. I explain it in detail in VOL 2 after covering minor tonalities.Secondary dominants and tritone substitutes are not borrowed from parallel minor keys. They are non diatonic compositional devices, again introduced centuries ago (eg. Bach) in order to create added “tension and resolve”and harmonic movement within an otherwise diatonic major tonality.
They can be used anywhere as long as they don’t clash with a written melody. Usually they are added before a resolution, a half measure before.
