How to make Chord Scales EASY!

[@michael-varney-music]

+1 for the Feynman interlude.

[@quicolotube]

Great lesson!! Making easy the strange names

[@billsprestonesq9569]

Not enough jazz theory videos make Insane Clown Posse references, good to see you're picking up the slack here.

[@ScottM65]

Another great video, Christian. Bravo!

[@nilkilnilkil]

I truly need to know these things ...

[@rodolfoamaralguitar]

11:56 When the author talks about avoid notes he is referring to tonal/functional harmony. If the chord IIm7 and you put the 13th on the voicing you are actually anticipating the dominant function that is to come, so this tension destabilizes the subdominant function of the chord. The ´´Recorda-me´´ example is not very good because the first part is modal (there are no avoided notes or functions), so in this case the 13th fits really well. Invitation is also kind modal too.

[@JazzGuitarScrapbook]

That’s actually quite a good point and it did occur to me. As unhelpful as I regard the ‘giving away the dominant’ framing - it is not actually incorrect. If you ply B on a Dm7 in a Ii V I it does indeed sound like some sort of G dominant. OTOH this effect seems less acute for a tonic minor as you say. this point doesn’t really affect the central thesis of the video. I’ll let you know if I find any more counter examples on the IIm7. I can’t think of any off the top of my head.

[@JazzGuitarScrapbook]

A better framing IMO is to understand IIm7 is a decoration of V7 - a suspension. It’s up to the accompanist and the soloist to make their own decisions regarding when for if they withhold the 3rd of the dominant. This reflects the way jazz evolved - for example Charlie Christian favoured the 6th on all minor chords regardless of function, but conversely the IIm7 was less common in the pre bop era. (Check out his solo on Honeysuckle where it’s just V7 for four bars unlike the way we play it today.) This is also reflected in the way that Bird plays II V Is - a Barry says he often ignores the ii.

[@rodolfoamaralguitar]

@@JazzGuitarScrapbook Actually I hear that from Nelson Faria (great Brazilian guitar player/arranger). He said that anticipating the chord function is like telling a joke from the end to the back lol. He said that It is especially notable qhen you are making big band arrangements.

[@rodolfoamaralguitar]

@@JazzGuitarScrapbook Of course, on the tonic minor the 6th desirable as the source scale is the melodic minor in this case. By the way I hate actually when some guys plays the minor 7th chords as if they were tonic minor (again, if we are talking about functional tonal songs)

[@JazzGuitarScrapbook]

@@rodolfoamaralguitar Well far be it for me to contradict the great Nelson Faria, it is stylistically dependent no doubt. Faria’s harmony is more colouristic so I can see how that might be an issue. Also modern players learned modern jazz theory so that colours the way they think, hear and write. Mostly I talk about bop here. And learning from Barry, that’s the way he taught it.

[@johnrothfield6126]

Dominant b9 b13 is Hejaz for half the world

[@MorningCarnival]

Makes sense to me…

[@georgechristiansen6785]

I prefer the process to be: learn chord tones first, then learn major and minor pentatonic. Combining the two give you all the consonant notes and everything else is just options based upon licks.

[@JazzGuitarScrapbook]

Not necessarily ALL the consonant notes. Actually the point of the melodic minor modes is that all the notes are consonant .

[@georgechristiansen6785]

@@JazzGuitarScrapbook Correct. Not sure why I typed the "the" there. I meant "all consonant notes".

[@nilkilnilkil]

The Berkeley chord scale theory book, you say ...

[@JazzGuitarScrapbook]

Nettles and Graf. It’s dry af, I wouldn’t bother

[@nilkilnilkil]

@@JazzGuitarScrapbook I bought it haha. I'll take anything at this point. Still didn't get the £50 Roni ben hur book

[@johnblackwell2065]

Filtered through Barry Harris

[@ccat9354]

@@nilkilnilkil You could probably return it and instead just watch marbinmusic's video series, "Harmony Level 1: Primary Dominants" (and the following 3 videos) to get a sense of how they analyze chords in standards and what HarmMin/HarmMaj/MelMin chord scales they want you to use. It's less impressive than you'd think lol

[@MrJt289]

why not go one step further and just collapse all the major modes into one called the 'diatonic scale'?

[@JazzGuitarScrapbook]

Step 2…. Actually I think chord scale theory has its uses

[@JazzGuitarScrapbook]

(Don’t tell anyone I said that)

[@spacejazz6272]

@@JazzGuitarScrapbook still waiting for your "Measured Response" video to yourself about that "everything i hate chord scale theory" video

[@JazzGuitarScrapbook]

@@spacejazz6272 NO IT IS BOURGEOIS!!!!