These 2 Notes Will Add SO Much To Your Solos!

[@DavePollack]

Get the worksheet here: ►www.davepollack.com/altered9th

[@EricPalmerBlog]

Huge. Thanks! (and yes the drag racing adjustment was on point) Have a great day.

[@DavePollack]

You're very welcome!

[@calkig]

What a great way to start my KZbin day -altered 9s!

[@DavePollack]

Glad you dig it!

[@alexandervanrose8724]

Your clarity and focus make easy what could be complex and difficult. Thank you.

[@DavePollack]

I appreciate that!

[@HahnJames]

Great info here. Thanks! I loved working on engines when I was a younger lad.

[@antikriegerangriff]

Randy...? Abbey?!---Fxxking legend!

[@DavePollack]

Yea it was pretty insane...I'm incredibly lucky!!

[@tokyonebyros]

Excellent as usual ! Thanks so much :))

[@DavePollack]

You're very welcome!

[@andreaseschenbacher3997]

Another great video- your easy explanations about that are very helpful- also practiced a few days the lines from your #11 Video and I really like them- your Solo in the Abbey Road Studios sounds really great👍…which mouthpiece/reed setup you’re playing there( sorry- I‘m sure you got this question a thousand times)

[@DavePollack]

Thanks so much! And no worries about the question. In that video I was playing a BSS M-Series 7 with BSS silver box 3 reeds. I've since switched to a BSS M-Series 8 with BS silver box 3.5s...the altissimo (and upper range in general) is SO much better with my current setup!

[@alanhirayama4592]

Excellent Dave! It's great to know you are such a gearhead, and loved the analogy! I have always been unclear as to which altered scale to use (e.g.-ascending melodic minor half-step above the root of dominant chord) over which altered dominant chords (b9, #9, b13). Seems like I can play the diminished whole tone scale (ascending melodic minor) for any altered dominant chord, but is that an over simplification? It's probably a matter of how the tension/altered notes are resolved? You'll probably cover this in future video, I'm looking forward to them. Thanks much!

[@parkerpolen]

Make sure that you are fully aware of your terminology when using it. The diminished whole tone scale is another name for the altered scale (aka super locrian). In particular, it is the seventh mode of the ascending jazz minor scale (ionian b3 ascending and descending). The one that gives you all of the altered tensions is mode seven of the jazz minor scale built off of the bvi - therefore in C, your Ab melodic minor scale, Ab Bb Cb Db Eb F G, can be played in its permutation of mode seven, which is where the altered scale is derived from. Additionally, I correct you on your use of the word "melodic minor" because that term actually refers to a scale that ascends in jazz minor and descends in aeolian (which is found in classical music). To answer your question, the most fitting chord to play altered over is a V7ALT chord, however, I've found that this chord name may have become outdated as jazz education has become more accessible, making composers be more direct with their alteration intentions. The altered scale is formulaically 1 b2 b3 b4 b5 b5 b7 (one, flat everything) but harmonically, it would more helpful to think of it as 1 b9 #9 3 #11/b5 #5/b13 b7. It is correct to play this scale over any chord that has one or IDEALLY MORE THAN ONE of the listed alterations. For example, over a V7b9, you could play altered, but it would kind of be a stretch because the band is expecting more of a phrygian dominant or diminished sound. On the other hand, if you come across a V7b5b9, it is screaming, "play altered!". A good rule of thumb is that if you see a chord with any two altered tensions, altered is the best scale choice. For single altered chords, the best scales are the following: V7b9 - phrygian dominant; V7#9 - dominant diminished; V7#11 - lydian dominant; V7b13 - mixolydian b6 (aka melodic major...a moderately disagreeable name). Finally, you are correct that it is a matter of how to resolve the altered tensions. As a dominant chord proceeds to a following tonic, here are all of the best resolutions: #5 - 3 b9 - 5 #9 -3 OR #9 (b9) - 5 #11 - 9 OR #11 - 3 b13 - 9 Keep in mind that sharps have the propensity to resolve up and flats likewise to resolve down (and the strongest motion is by semitone in the urged direction). Hope this helps!

[@parkerpolen]

I feel the potential for a flat thirteen video coming soon... :)

[@robstevens9590]

"I'm not in school anymore, so I can do what I want!" Ha. I really liked your solo on "Be Sorry", but I especially liked the stank face of the tenor player listening to you.

[@DavePollack]

😂 yea when editing the video i just had to zoom in on that!