MASTER CHORD CHANGES WITH MELODIC CELLS / Free PDF Download (Coltrane Melodic Cell)

[@gibtherockermusic]

I'm a guitarist but I love your videos! I'm learning a lot and becoming more melodic and purposeful in my playing :)

[@ScottPaddock]

That awesome! Glad it transfers to other instruments.

[@mrborismachado]

Muchisimas gracias este video!Es increible lo que me ayudo!Saludos desde Argentina

[@7deepbreaths.sounds]

Thanks Scott...appreciate your guidance! I'm working on applying your instructional techniques to my practice and playing. Love your approach to teaching...so clear and easy to comprehend...there's an obvious vocal rhythm and cadence to your speech.

[@kimheath3536]

Owe you a pint and then some! A real nugget of gold and answers so many questions as well as aiding listening. Cheers m’dear

[@ScottPaddock]

🍺🍺👍

[@davidmanhart2980]

Very helpful. Thanks, Scott! Very grateful for your excellent tutorials.

[@ScottPaddock]

Thanks David!

[@Stevecollinsclear]

awesome -just what I been looking at ANd for

[@markhadfield6408]

Thanks so very much, Scott, for a tenor sax lesson!! You beauty!! Steppin' out in style! Gee. Again, thank you.

[@ScottPaddock]

👍👍👍

[@michaelszlachta1194]

This makes sense- super helpful to have in your musical arsenal. Thanks again for a great lesson!

[@ScottPaddock]

Thanks Michael!

[@LennyPrice]

Excellent information clearly demonstrated, Scott! 🎷

[@ScottPaddock]

Thanks Lenny!

[@robstevens9590]

Thank Scott! Very helpful info about melodic cells. Dave Pollack also just did a post on learning to understand and play over the changes of "Giant Steps". Putting these 2 lessons together helps in being able to approach (the seemingly impossible of) improvising over this classic tune!

[@ScottPaddock]

Hey Rob! I'll have to check out Dave's video. Yeah, Giant Steps is a tough one, but if you break it up into little pieces, it's manageable. The crazy thing is that Giant Steps is entirely made up of 3 different 2-5-1s, so it shouldn't be that hard right? 🤣 Have fun working with these melodic cells.

[@burgessbrian9329]

Great tutorial Scott- always very much appreciated cheers

[@ScottPaddock]

Thanks! 😁

[@sugarblues9651]

Thank you sir !

[@BruceReid8393]

Great advice as usual, Scott!

[@ScottPaddock]

Thanks Bruce!

[@solomann940]

Thanks for the lesson

[@ScottPaddock]

Thanks!

[@DovidSal]

What is a secondary dominant? Thank you Scott.

[@raseshgandhi6702]

Fantastic

[@gotofourths933]

Another excellent tutorial thank you very much. One question if you please Scott. Sixth degree is aeolian mode but for dominant sound before Am7 we rise three , i got it. Thirth degree is Bm7 but one #two three part of the cell is not match to phrygian mode. Dont we stick the g major scale in melodic cells all along the progression(except secondary dominant)? Be safe.

[@ScottPaddock]

Hey! With a melodic cell, it changes with each chord. So if the chord movement was B-7 / E7 / A-7 / D7 / Gmaj7 and the cell was 1 2 3 5 this is what the cells would be B-7 = BC# D F# E7 = E F# G# B A-7 = A B C E D7 = D E F# A Gmaj7 = G A B D So those cells line up with the chord movement. Now, where things can get weird is with the minor chords if there is a 6th in the cell. You have to determine whether it is acting as a 2 or 6 chord so you know which minor scale to play. Hope that helps!

[@gotofourths933]

@@ScottPaddock I got it thank you very much!

[@meldavis7183]

Interesting. Pentatonic scale?

[@javierquesada798]

I would like to know what your saxophone collar is like and where I buy it

[@ScottPaddock]

Hey Javier, I built it myself out of a couple different straps.

[@pablomorenodearcosmora3003]

thanks Scott... One question... why E7 instead of Em7?

[@ScottPaddock]

Hey Pablo - it's acting as a secondary dominant for the A-7. By changing the Em7 to an E7 it gives you a G# which is the leading tone that goes to the A. You'll hear secondary dominants used in turn around all of the time because it gives you really smooth voice leading, and gives the chords nice movement. So instead of going minor, minor, minor, dominant, you get a better sounding progression of minor, dominant, minor dominant, major.

[@saxophonick6719]

Hey Scott, it happens to me all the time when the cord changes and G flat is written instead of F sharp and D-flat is written instead of C-sharp the whole ballot is written in B-flat and that B natural comes in I lose rhythm focus and if you play the wrong note during those cord changes you can’t help but hear how off it sounds. Thanks for this video I will study it well.

[@ScottPaddock]

Hey Nick! Yeah this will help a lot. Also, if you have tough enharmonic chord spellings feel free to cross them out and write in the chord that is easier to read. Example: instead of a Gb write an F#. That will help a lot.

[@jrgreiner]

Should be 1235 for major and dominant. 1b345 for -7

[@PopVi]

All My Tomorrows

[@DougMcDave]

"Autumn Leaves."

[@DougMcDave]

"Blue Moon"

[@dexterleeledford2347]

Georgia, Girl from Ipanema

[@ScottPaddock]

Love Georgia!!

[@inflatedear7131]

Lots of talking and unnecessary explanations for such a simple concept.