Love the videos, Matt. Thank you. I'm really trying to learn, but -- more importantly-- UNDERSTAND why certain things are done in, especially, harmony. I get the color-spectrum concept. I can really relate to that , even if I can't explain it. But, raising the 4th (11th).. Why is that done? Answer when you can. Also, do you teach online. I love your approach.
Michael, thanks for your comment. The 11th is raised only because that is the specific arpeggio I'm working on in this video. The Lydian Dominant scale (for C7#11 that would be C, D, E, F#, G, A, Bb, C) is often used over a dominant 7 #11 chord. This scale is the 4th mode of the ascending melodic minor scale (for C7#11 that would be G melodic minor). In many ways it is somewhat arbitrary and the theory is not necessary (learning to play good melodies over this sound by ear is the most musical approach) but as far as teaching "theory online" this scale does sounds nice and is common practice (among other scale choices) on a Dominant 7th chord with a #11 natural 9 and natural 13. Many great cliche melodies come from this scale and the potential to create creative melodies from the scale is limitless. Hope that helps!
@@MattOttoJazz I'm embarrassed. I just went into my G-Mail account for the first time in a while. I didn't realize until about 10 minutes ago you've been responding to my posts -- not doubting that you'd get around to it eventually, (I know you're working musician. I can only imagine that schedule.) In any case, thanks so much for the thorough reply, and your effort for doing so is not lost on me. What you're saying makes sense, now that you've explained it that way. Currently working on harmonic scales, and about to really hit the theory behind the Seventh chords built on each tone of any relative minor. For now, only 40 minutes a day to practice...if that. Can't wait to buy your materials. Hooked on your channel! Thanks again.
This has been one of my everyday exercises for a few years now. It’s fantastic in so many ways, and it sounds beautiful. Thanks Matt!
Thanks! I love it too - never gets old...
Very helpful exercise, thanx a lot for sharing your knowledge.
My pleasure, thanks for the comment.
hey man thanks for putting this up, I'm headed over to your site, I really have been in need of some new things to practice.
You are so good !!!!!!!!!!!!!!!!!!!
and I'll definitely be making a donation once I get some bread lol!
Same here. Time to pay up on my end, as well.
@ClumsyFred thanks, I'm no Lester Young but I'm getting a little better each day :)
@Brian4hand Thanks Brian, I appreciate it!
Thanks Charlie! Kind words - :)
@Chris M - the #4 or #11 is part of this lydian dominant melody (4th mode of melodic minor).
Love the videos, Matt. Thank you. I'm really trying to learn, but -- more importantly-- UNDERSTAND why certain things are done in, especially, harmony. I get the color-spectrum concept. I can really relate to that , even if I can't explain it. But, raising the 4th (11th).. Why is that done? Answer when you can. Also, do you teach online. I love your approach.
Michael, thanks for your comment. The 11th is raised only because that is the specific arpeggio I'm working on in this video. The Lydian Dominant scale (for C7#11 that would be C, D, E, F#, G, A, Bb, C) is often used over a dominant 7 #11 chord. This scale is the 4th mode of the ascending melodic minor scale (for C7#11 that would be G melodic minor). In many ways it is somewhat arbitrary and the theory is not necessary (learning to play good melodies over this sound by ear is the most musical approach) but as far as teaching "theory online" this scale does sounds nice and is common practice (among other scale choices) on a Dominant 7th chord with a #11 natural 9 and natural 13. Many great cliche melodies come from this scale and the potential to create creative melodies from the scale is limitless. Hope that helps!
@@MattOttoJazz I'm embarrassed. I just went into my G-Mail account for the first time in a while. I didn't realize until about 10 minutes ago you've been responding to my posts -- not doubting that you'd get around to it eventually, (I know you're working musician. I can only imagine that schedule.) In any case, thanks so much for the thorough reply, and your effort for doing so is not lost on me. What you're saying makes sense, now that you've explained it that way. Currently working on harmonic scales, and about to really hit the theory behind the Seventh chords built on each tone of any relative minor. For now, only 40 minutes a day to practice...if that. Can't wait to buy your materials. Hooked on your channel! Thanks again.
@@michaeldean9338 No problem - it takes me months to reply sometimes - lol