Ep. #06 | Scale Tone Above

[@Lovethemusic385]

One thing I admire about Jordan is the tremendous care he puts into consistent, relaxed, beautiful tone production. It makes things shine in their simplicity and elegance.

[@JordanOfficerStudio]

Thanks for that beautiful comment Mike.

[@arthurcharron3601]

always glad to see one of your episode up! looking forward to the end of the day to pick up my guitar! Merci:)

[@JordanOfficerStudio]

Cool! Happy picking :)

[@misterarthur]

These are fantastic. Thank you, Mr. Officer.

[@JordanOfficerStudio]

Cool! Thanks for watching

[@VitalBigras]

Please keep these episodes going ! Really helpful!

[@JordanOfficerStudio]

Will do! Thanks!

[@hesperadventures1642]

Jordan, please keep these coming. They are wonderful. I play your "pennies from heaven" intro with arioli all the time. If you have time to break that down it would be great.

[@JordanOfficerStudio]

Thanks. That is one of my favourite recorded solos of mine, and I may do that at one point. Thanks for the suggestion and all the best!

[@calpolycaed6935]

Jordan, thanks for doing this. You probably won't remember, but I contacted you years ago asking if you could teach remotely - and here it is! A wish come true!

[@JordanOfficerStudio]

Thanks man. You can always hit me up, sometimes it's possible, depending on my schedule. But it's great if these clips speak to you! All the best.

[@albertzebulon5660]

When it's a whole step upper approach, it is tenting to intercalate the "external" intermediate chromatic note - according to the feeling of the moment - and (even) to lesson to what happens if insisting on the "wrong" passing note. It may be interesting to mention this possible experiment since the most basic stage ??

[@JordanOfficerStudio]

I want to be sure to understand what you mean. Do you mean that say on the 5th degree, where the scale tone above would be the 6th (one whole tone above) you would hit the b6 as well, before the 5th? Or on the root, you'd hit the scale tone above, the 2, but also the b2? That makes sense to me, and once you expand any of these melodic patterns and incorporate them into your playing, there are many ways to play with and vary them. Dis-moi si ça répond à ta question! :-)

[@santrixhimself3679]

my jazz playing is kind of sucky. i have been practising the stuff from episode 1-5 and it already majorly improved. thanks for that! looking forward to the next episodes :)

[@JordanOfficerStudio]

That's amazing to hear. Thanks for the comment

[@VitalBigras]

Hi, I was thinking…if we take it to another scale, let’s say G Majeur. The C chord will not have the same scale tone above 😅 being now the 4th chord of the G scale. So is there a way to memorise that ? Maybe 🤔 by degree ?

[@JordanOfficerStudio]

If you're playing this kind of pattern over the C chord but you're in the key of G, so you're on the 4 chord, you would have both options. You could take the scale tones above your C maj triad notes from your key of G major, or else from a C major scale. The scale tone above the root and fifth would be the same either way, but when you get to the 3rd, you could play the f# (from the G maj scale) or the f (from the C maj scale). Both would work, and it would be a choice to make, depending on how you want it to sound. Playing the f# would be kind of a lydian sound for your C chord, brighter sounding, whereas the f would place you more firmly in a C major sound, and that scale tone above approach from the f would sound a bit like you're tonicizing your C with a G7, which is something we often do when we go from G maj to a C.

[@patrickleboutillier]

Hi Jordan, what model is that Gibson?

[@JordanOfficerStudio]

Hi Patrick. It is a 1949 Gibson L7-C