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Introduction To Improvisation – Scales And Chords

In this series of videos, we look at the basics of improvisation and how to manage harmony and melody.

In part two, we look at the relationship between scales and chords.

This entry was posted in Improvisation.
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2 Comments

  1. Michael SHORTLAND
    Posted 12 May, 2014 at 1:02 pm | Permalink

    One of the problems students face is terminology. A minor scale can mean: (1) flattened 3 (a jazz melodic), (2) flattened 3 and 6 (harmonic), (3) flattened 3 and 7 [which you cite here) (4) flattened 3 6 and 7 (natural minor). If you are referring to a flattened 7 chord, there is no problem, as I believe we always flatten 3 and 7. But a Cmin7 gives us C Eb G Bb. What other notes make up the scale if we want to fill in? Is the A (6th) flattened? Another thing that trips up lots of players is the 7th chord. is this a half diminished (I think it is) or a fully diminished? Uhm… Thanks

  2. Posted 12 May, 2014 at 7:58 pm | Permalink

    There are lots of different minor chords, but they all have the b3 and b7. These alterations are what gives a chord the minor sound. All the other versions are then just variations of it.

    Same with the dominant 7th. The flattened 7th is what gives it that sound, then you can mess around the with the other notes to come up with all the different variations.

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