Scales, Arps, & Chords on "All Blues" by Miles Davis (Improv Lab #2) скачать в хорошем качестве

Scales, Arps, & Chords on "All Blues" by Miles Davis (Improv Lab #2)

Scales, Arps, & Chords on "All Blues" by Miles Davis (Improv Lab #2) [Dan's Books on chords/scales/modes/etc.] https://amzn.to/4kubAkx [Topics in this video: parent scales, Mixolydian modes, triads, and the harmonized scale, drop two and drop three voicings, lydian dominant, uses of "diatonic" minor pentatonic scales, half whole diminished scales, superimposing harmonies, etc.] 00:00:00 - Introduction to "All Blues" by Miles Davis Emphasis on listening to all musicians on the recording. Discussion of common misconceptions and overlooked elements. 00:02:14 - Basic and Less Basic Approaches Explanation of the persistent bassline during the IV chord. Horn backgrounds and their guitar applications. "Modal Blues" concept and G Mixolydian. 00:03:48 - Parent Scales: C Major and F Major G Mixolydian and C Mixolydian. Explanation of the white keys on the piano, and how that translates to the guitar. 00:05:27 - G Major Triads and Harmonic Effects Exploring Triads within the G Mixolydian mode. Miles Davis's use of A minor Triad over G7. Demonstration of the sound of different Triads. 00:08:14 - Triads and the IV Chord (C7 over G) Triads within the C Mixolydian mode. Melodic design using Triads. Demonstration of Triad superimposition. 00:10:14 - Arpeggio Lines and Triad Superimposition Arpeggio lines in C major and F major. Transition to the D7#9 chord. 00:11:11 - Diatonic Minor Pentatonics D minor pentatonic and E minor pentatonic over G7. G minor pentatonic and A minor pentatonic over C7. 00:13:16 - Melodic Minor on the Fifth of Dominant Chords D melodic minor over G7. G melodic minor over C7. Explanation of Lydian dominant. 00:15:03 - Lydian Dominant vs. Melodic Minor The thought process behind using each scale. Emphasis on playing the upper structure of the harmony. 00:17:14 - Summary of Scales and Modes Recap of parent scales, modes, Triads, and pentatonics. Barry Harris's concept of minor scales on the fifth of dominant chords. 00:19:02 - Chord Voicing Options: Drop 3 and Drop 2 Importance of knowing basic dominant chord voicings. Demonstration of G7 and C7 drop 3 voicings. 00:20:37 - Drop 2 Voicings Demonstration of G7 and C7 drop 2 voicings. 00:22:37 - Rootless Voicings and Color Tones Replacing the root with the ninth in dominant voicings. D minor 6 and B minor 7b5 implications. 00:24:27 - Comping with Rootless Voicings Demonstration of comping using E minor 7b5 and D minor 6. 00:26:32 - Tuning and Transition to D7#9 and Eb7#9 Preparation for discussing the half-whole diminished scale. 00:27:31 - Half-Whole Diminished Scale (Octatonic) Addressing the D7#9 and Eb7#9 chords. Importance of the natural 5th in the melody. Explanation of the half whole diminished scale. 00:29:10 - Half-Whole Diminished Scale Fingering Showing a useful fingering for the scale. Explanation of the scales construction. 00:30:41 - Applying the Half-Whole Diminished Scale Demonstration of the scale over the D7#9 and Eb7#9 chords. Resolution to G Mixolydian. 00:33:13 - Practice and Summary Importance of practicing the turnaround. Review of key concepts: parent scales, Triads, pentatonics, melodic minor, and half-whole diminished. 00:34:56 - Chord Voicing Recap Review of drop 3 and drop 2 voicings, and their modifications. 00:36:21 - Final Thoughts and Book Recommendations Recap of the half-whole diminished scale and its application. Promotion of the "Drop Voicing" and "Jazz Guitar Genius" books. 00:36:58 - Book information. 00:37:35 - Closing. If you enjoyed this video, check out Dan's books and lessons: [Video Courses & Private Lessons] https://www.wayoftheguitar.com/ [Homepage] https://dancosley.com/ [Amazon Author Page] https://www.amazon.com/stores/Dan-Cos... [Publisher] https://productionsdoz.com/nos-artist... [Newsletter & Free eBooks] https://wayoftheguitar.us18.list-mana... [Donations] PayPal ID: [email protected] Presented by Dan Cosley in Seattle, Washington on 03/18/2025 Guitar: Robert Ruck, 2001 Strings: Augustine Classic Red