I’m back!
Things have been so hectic. From the launch of GMTC to server problems and Thanksgiving, I’ve had enough to keep me busy indeed.
But now, my head is clear and I’m ready to go full force!
Recall, the other day, I taught you the altered scale (a.k.a. - the ‘super locrian‘ mode)
You’ll really want to check out this past post if you haven’t already. You’ll be lost if you don’t.
You learned, step-by-step, how to play the altered scale.
It’s basically any melodic minor scale played from the 7th tone to the 7th tone (… in other words, instead of starting and ending on the first tone of the scale like you’d normally do, you start and end on the 7th tone of the SAME scale. It gives it a totally different feel). So in essence, we’re mixing together two past ideas you’ve already learned: 1) the melodic minor scale and, 2) modes.
So here’s the “B Super Locrian” scale you learned from my previous post:
Now, let’s take it a step further and show you how to multiply your usage of scales, modes, and “runs.”
In my last lesson, I explained that you can play this scale pretty much over any of these types of chords:
B7 #9#5
B7 b9 #5
B7 b9
B7 #9
B7 #5
…Basically, any chord with a sharp or flat 9 or a sharp or flat 5… essentially, some of the most commonly used “altered” chords (thus the name, “altered scale”).
Why? Because those are the tones represented in the scale (if you write the scale degree numbers out)…
Altered / Super Locrian scale = 1, b9, #9, 3, b5, #5, b7
But these aren’t the only chords you can use this scale with…
Remember the concept of “tritones?” I taught this a few months back.
Every note has another note that’s a “tritone” away in distance. I told you to memorize these “pairs” as if your music career depended on it — because they’re used EVERYWHERE!
I don’t have enough space to talk about tritones in depth but check out this past lesson and similar ones in my archives.
So in order to find out where else you can use this “B super locrian” (a.k.a - “B altered scale”), among many places, ask yourself this question…
“What is a tritone away from B?”
Hint: A tritone is either 3 whole steps up or 3 whole steps down… you’ll arrive at the same place!
The answer is: F
F is a tritone away from B and they collectively create a tritone if you play them together (”B + F”).
So that means you can play the same scale over an F dominant chord (or even altered chord but you may have to omit some “avoid notes.”). I personally prefer a dominant 13 chord or some type of extended dominant chord (9th, 11th, 13th, etc).
Example:
F9 (add 13)
(F not shown but play it on your bass)
And you can use the same “B altered / super locrian” scale from above to solo over it:
Why does this work so well?
Because if you simply keep the chord the same and only change your bass from “F” to “B,” you’ll be back to a “B7 #9#5″ altered chord and as you know from the list of chords above, it’s one of the ones the work really well with the altered scale.
B7 (#9#5)
(B not shown but play it on your bass)
Note: This is actually how all dominant chords work. If you just keep your right-hand chord the same and switch your bass to a "tritone" away, you'll have two chords that can be substituted for each other! Works most of the time... like a charm! We call this idea... "tritone substitutions.”
See… I told you this post would be detailed! Just making up for a few MIA days!
Take it slowly. Repeat it if you have to.
Until next time —
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Related posts:
- Who else wants to learn how to solo with the “altered scale?”
- The EASIEST way to play altered scales
- Here’s the secret to soloing over dominant chords
- The secret to inspiring your own flavorful altered chords!
- What everybody ought to know about ninth chords
- An altered chord you can try
- Chord progression with various altered chords
December 1st, 2008 (comment#1)
this is some awesome stuff JG!
December 1st, 2008 (comment#2)
I like the combination of the ideas between tritones, melodic minor, and using modes. Yoou always have a way of bringing hard things together. I’m loving the application! Keep it coming!
MS
December 2nd, 2008 (comment#3)
You defintly know how to keep these wheels turning in our heads…good looking out!!!
December 2nd, 2008 (comment#4)
I’m confused. The example above shows an F9(add 13) chord=F-Eb-G-A-D and you are supposed to solo with the super locrian scale. Problem is that left hand chord, there is no way I am gonna stretch to reach all those notes.(F-Eb-G-A-D) or am I missing something. I’m sure I am but can’t figure it out.
December 2nd, 2008 (comment#5)
@Richard:
Oops I should have been more clear…
This is one of those chords where you either:
1) Hit F real quick, then follow through with the chord on your left
OR
2) You have a bass player taking care of it.
But you can even do the chord without F… you can make it “rootless” and it will still serve its purpose when put in the correct place.
I hope this clarifies
January 10th, 2009 (comment#6)
What happened to the C (5th of F) which is neither in B Super locrian nor in B7#9#5?
January 13th, 2009 (comment#7)
@David,
NOt sure if I understand your comment.
This scale covers the #9 #5 and the b9 b5. It has all of these intervals in its scale and it works great over any of these scales. “C” in this scale is the b9.
Please clarify…
August 21st, 2009 (comment#8)
Jermaine Sir,
Your explanation of the altered B scale is the best explanation of this topic I have ever seen.
I thank you for offering us the true professional knowledge we need to sound like the BIG BOYS & GIRLS sound.
There has to be hundreds of piano lesson websites and I have visited most of them and your site tells us exactly what we need to learn and know to sound like a PRO and that is so fabulous.
I took my first guitar lesson 52 years ago. In all the 52 years of searching and finding music books and teachers, I only found one guitar player who could legitimately teach me jazz and I played the part of the idiot and did not invest in lessons.
I have been on your site for less than one month and have learned things like, tritone, ditones, neighboring tones which I was taught note to use two tones 1/2 step apart because this was dissonant and NO GOOD, beautiful chord voicings, the 7,3,6,2,5,1,4 chord progression I never played this progression in 52 years of playing guitar, Just to name a few of the things I have learned.
God Bless You with another several million dollars of HIS wealth,
Ed. Keifer
PS- as soon as I have sufficient funds, retired 66 years old living on fixed income, going thru a divorce, I intend to purchase your 300 page course and other related DVD’s.
August 21st, 2009 (comment#9)
Happy Days to Everyone @ Hear and Play all over 200,000 of you. This is the best piano website I have ever visited.
It really does show everyone what has to be done and learned to play like the professional musicians play.
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Ed.Keifer