D'uh! Learned this a while back and forgot it until now. Thinking of minor7b5 harmony as it's related minor 6th and dominant 7th makes all the linear vocabulary sit better. Even that pesky natural 9th works better if you think of it as the natural 7th of the minor 6 or the #11 of the Dominant. Never got that nat 9 on the minor 7th b5 to sound right until I tried it on the piano just now. Tanks!
Looks like you had quite some fun making this video ;-). Good stuff! I have been looking at a m7b5 as the upper structure of a dom 7/9 chord for quite some time and that makes things a lot easier! Cheers!
"Or whatever you kids are playing nowadays..." Cracked me up. Yes I agree looking at it as Thelonious Monk and Barry Harris did is much faster and less taxing on the noggin! Great vid. Cheers.
Come for the jazz harmony lesson, stay for the biting jazz scene humor! "Chunk, chunk, chunk ... You can actually get people to pay you money for that."
Ok I understand but you quoted some rule that was garbled could you restate that. The reason I’m asking is because I was taught to see that as the important arpeggio on the 5th of the tritone of the E7.
David Hoey He was saying that the F min triad in this case works over E7 because of the Altered Dominant scale. Altered Dominant is the 7th mode of Melodic minor...so E Altered Dominant contains the same notes as F Melodic Minor...and so the F minor triad “works” over E7b9.
@@JazzGuitarScrapbook hello fine sir, I just mean no matter the chord or progression or song form It's possible to make melodies that move in any direction, high to low low to high zig zag etc. All kinds complex motions movements. Then I just think of the form as navigating in that region so if my melody has " outside" notes in that form it means the out sounds have to land in the weak beat then resolve on the strong beat . When you speak about min7b5, min6, dominant how they all useable on same form I think that way also . Dmin6/ G#min7b5/ Amin6 For example So really the minor7b5 Can be tonic/ subdom/ or Dom/ And that means you can create any type melodic motion possible with all the infinite variety of the min7b5 ( It's actually one my fav sounds. Ex. Dmin7/ G7/ Cmaj/ I might play it as . Bmin7b5/ Fmin7b5/ Amin6 3 diff min7b5 forms possible for C major cadence right there and that's a vanilla option. Thanks for your time and efforts love your stuff.
@@yzimsx I just find the topic interesting. You always see people in basic theory videos say Bmin7b5 and locrian are useless just use the other 6 chords in a key. That's nuts to me . You can use the Min7b5 or even locrian on anything . Take in the KEY of C major For example Cmaj7/ You can play F#min7b5 on it , or even F# Locrian ( borrow from G major ) This sounds great on Cmaj7/ In the KEY of C major . So I always been interested in this topic why some people think the Minor7b5 Is worthless when you can actually use it in any situation . On a tonic On a Subdominant On a dominant . So that's all , I just find the topic interesting .
@@johnjacquard863 People like to say X is worthless and bad etc. because bashing something rises your own status and makes you look like an expert. Btw. If you play F#m7b5 i.e. Am6/F# in the key of C (i.e. tonic is C), on top of a Cmaj7 backing chord, it can create a C lydian sound, just like playing a D dominant like D9. I think the chordal patterns talked about in this video work just as well for functional and modal things.
'The Family of Four': Fmaj7(#4)=Dm7/9=Bm7b5=G7/G9. Mick Goodrick calls it 'Derivative' system ie substitution/superimposition rather than parallel always spelling from the root. The beauty of playing the family of four is the root note of the chord you are playing over is not the focal point of a line actually think Joe Pass is right about 3 colours but wrong about what they are. If you treat the 4 chord types from the major scale as 1 colour and Melodic Minor and Diminished as the other two, your pretty much sorted for life. Grab whole tone, harmonic minor and messiaen if you need them further down the road.
I kinda do that, actually. Although diminished is a different thing from melodic minor. Kind of. Didn't the dreaded Mark Levine say you only need three scales? Same conclusion, different paths.
Your tone sounds really nice today, however it is you’re plugged in or mic’d. I guess I would say ... uh, maybe that’s not usually the case. I get that you’re more focused on sharing your thoughts. But, it is more enjoyable to hear you play (which you do well) when it sounds nice. It’s also easier to follow. So, more of this please?
👍👍 Just to be even more pedantic, isn't "Aeolian b5" a better description than "Locrian #2"?😊 But, yes, I absolutely agree that recognizing the sound as an Inverted Minor 6th chord or a Rootless Dominant 9th is more much musical and practical than attempting to memorize numerical formulas and Greek terminology. However, I'm very accustomed to the chord symbol (as convoluted as it is) and don't especially like the Half Diminished alternative description (but I appreciate that it is a very convenient shorthand).
Ah yes, the m7b5 reminds me of a more naive time in my career as a wannabe bedroom guitarist. I mean sure, it's fine for the children but once you reach a certain age someone has to tell you that the m7b5 just isn't real.
I suppose you can also say that the bedroom guitarist actually HAS enough time to practice a different vocabulary and different voicings over every chord. That’s what you do when you have 8 hours a day to practice and no gigs. Nothing wrong with it, but later on things get a bit tighter...
@@JazzGuitarScrapbook Well to be honest, its only something I've learned in the past year or two. I always tried to bend my ears to hear it as a m7b5 but it just doesn't work for me. And I only made the whole dom9th connection a couple of months ago. But i do need to get out of the bedroom guitarist rut and play more gigs/jams.
@@JazzGuitarScrapbook Uh oh, that's exactly what I'm doing right now......... how do I stop this, what shortcuts and lessons must I learn? I prefer not to learn the hard way later in life
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
I like the E major Over A ................. Great stuff. I only watched the beginning of this. Goood stuff. Thanks
Great ideas are always welcome to great minds
perfectly pitched to an intermediate player like me, thank you!
Very good lesson. Thanks for posting.
great stuff... revisiting this. If you ever want to expand on this with another video
D'uh! Learned this a while back and forgot it until now. Thinking of minor7b5 harmony as it's related minor 6th and dominant 7th makes all the linear vocabulary sit better. Even that pesky natural 9th works better if you think of it as the natural 7th of the minor 6 or the #11 of the Dominant. Never got that nat 9 on the minor 7th b5 to sound right until I tried it on the piano just now. Tanks!
Please do more videos after you've been writing essays all day, that was informative *and* entertaining!
Looks like you had quite some fun making this video ;-). Good stuff! I have been looking at a m7b5 as the upper structure of a dom 7/9 chord for quite some time and that makes things a lot easier! Cheers!
Excellent explanation!
Interesting lesson , its all new to me but the enharmonic relationships between chords is helpful.My "jazz language" is gradually improving.cheers!
Okay I see. The chords all relate a Minor 3rd apart. I like this. Very good stuff.
"Or whatever you kids are playing nowadays..." Cracked me up. Yes I agree looking at it as Thelonious Monk and Barry Harris did is much faster and less taxing on the noggin! Great vid. Cheers.
Come for the jazz harmony lesson, stay for the biting jazz scene humor! "Chunk, chunk, chunk ... You can actually get people to pay you money for that."
Very useful for Stella By Starlight
Indeed!
Three quarters of the way through, why am I thinking of Michael Palin in Monty Python?
Nice, I'll lean into it. I was probably subconsciouly thinking of Palin lol.
@5:27 "...the F minor 7 works over the E7 because..." I didn't get that one. Something about a minor a half step above the root of a seventh chord?
David Hoey yes- though not the Fm7, just the Fm triad in that case.
Ok I understand but you quoted some rule that was garbled could you restate that. The reason I’m asking is because I was taught to see that as the important arpeggio on the 5th of the tritone of the E7.
David Hoey He was saying that the F min triad in this case works over E7 because of the Altered Dominant scale. Altered Dominant is the 7th mode of Melodic minor...so E Altered Dominant contains the same notes as F Melodic Minor...and so the F minor triad “works” over E7b9.
So ?? I can play Over D minor then G Altered or Over anything that works over G Dom and resolve to A min 6?
Superimposition is the most powerful tool :)
awesome
I think of it as , for any form you are on.
You have any melodic contour direction is possible .
It's infinite number ways to express things .
John Jacquard not sure if I understand exactly, but that sounds awesome :-)
@@JazzGuitarScrapbook hello fine sir,
I just mean no matter the chord or progression or song form
It's possible to make melodies that move in any direction, high to low low to high zig zag etc. All kinds complex motions movements.
Then I just think of the form as navigating in that region so if my melody has " outside" notes in that form it means the out sounds have to land in the weak beat then resolve on the strong beat .
When you speak about min7b5, min6, dominant how they all useable on same form I think that way also .
Dmin6/ G#min7b5/ Amin6
For example
So really the minor7b5
Can be tonic/ subdom/ or Dom/
And that means you can create any type melodic motion possible with all the infinite variety of the min7b5
( It's actually one my fav sounds.
Ex.
Dmin7/ G7/ Cmaj/
I might play it as .
Bmin7b5/ Fmin7b5/ Amin6
3 diff min7b5 forms possible for
C major cadence right there and that's a vanilla option.
Thanks for your time and efforts love your stuff.
@@JazzGuitarScrapbook
I look at
Maj6
Min6
Min7b5
Dom
As being able to fit on any function.
Ex.
G7
C#maj6
A#min7
Fmin7b5
Gmin7b5
D#7
i love you
So... Bm7-5 can be treated as a G dominant, not just as a Dm?
yzimsx yes
Bmin7b5 BDFA
Dmin6 DFAB
Fmaj6b5 FABD
G9 GBDFA
@@johnjacquard863 Yes. Actually I was trying to ask, was that all. ;)
@@yzimsx I just find the topic interesting.
You always see people in basic theory videos say Bmin7b5 and locrian are useless just use the other 6 chords in a key. That's nuts to me .
You can use the Min7b5 or even locrian on anything .
Take in the KEY of C major
For example
Cmaj7/
You can play
F#min7b5 on it , or even
F# Locrian ( borrow from G major )
This sounds great on Cmaj7/
In the KEY of C major .
So I always been interested in this topic why some people think the Minor7b5
Is worthless when you can actually use it in any situation .
On a tonic
On a Subdominant
On a dominant .
So that's all , I just find the topic interesting .
@@johnjacquard863 People like to say X is worthless and bad etc. because bashing something rises your own status and makes you look like an expert. Btw. If you play F#m7b5 i.e. Am6/F# in the key of C (i.e. tonic is C), on top of a Cmaj7 backing chord, it can create a C lydian sound, just like playing a D dominant like D9. I think the chordal patterns talked about in this video work just as well for functional and modal things.
And the D minor is also the BH important minor of G7 🤯
'The Family of Four': Fmaj7(#4)=Dm7/9=Bm7b5=G7/G9. Mick Goodrick calls it 'Derivative' system ie substitution/superimposition rather than parallel always spelling from the root. The beauty of playing the family of four is the root note of the chord you are playing over is not the focal point of a line actually think Joe Pass is right about 3 colours but wrong about what they are. If you treat the 4 chord types from the major scale as 1 colour and Melodic Minor and Diminished as the other two, your pretty much sorted for life. Grab whole tone, harmonic minor and messiaen if you need them further down the road.
I kinda do that, actually. Although diminished is a different thing from melodic minor. Kind of. Didn't the dreaded Mark Levine say you only need three scales? Same conclusion, different paths.
@@JazzGuitarScrapbook Yes, I'm writing a book on all this. I'll send you a copy when it's done mate.
Your tone sounds really nice today, however it is you’re plugged in or mic’d.
I guess I would say ... uh, maybe that’s not usually the case. I get that you’re more focused on sharing your thoughts. But, it is more enjoyable to hear you play (which you do well) when it sounds nice. It’s also easier to follow. So, more of this please?
Dan Miller yeah taken a bit more care. I think it’s good if the guitar sounds good .
@@JazzGuitarScrapbook Well, thanks for your effort. I don't mean to sound complainy or entitled. Your work here is a gift to us all.
@@danmiller7708 Thanks man. This year I'm trying to tighten everything up, get it better.
If you aren’t a thesaurus for all the words that mean “cool,” you do not play jaaaaaaaaaazzzzzzzzz
Glass completely empty cool
👍👍
Just to be even more pedantic,
isn't "Aeolian b5" a better description than "Locrian #2"?😊
But, yes, I absolutely agree that recognizing the sound as an Inverted Minor 6th chord or a Rootless Dominant 9th is more much musical and practical than attempting to memorize numerical formulas and Greek terminology.
However, I'm very accustomed to the chord symbol (as convoluted as it is) and don't especially like the Half Diminished alternative description (but I appreciate that it is a very convenient shorthand).
C7 = "E-7b5" = G-
YES
But also F#7alt
Ah yes, the m7b5 reminds me of a more naive time in my career as a wannabe bedroom guitarist. I mean sure, it's fine for the children but once you reach a certain age someone has to tell you that the m7b5 just isn't real.
Eamon Russell you may be joking but this was literally true for me
I suppose you can also say that the bedroom guitarist actually HAS enough time to practice a different vocabulary and different voicings over every chord. That’s what you do when you have 8 hours a day to practice and no gigs. Nothing wrong with it, but later on things get a bit tighter...
@@JazzGuitarScrapbook Well to be honest, its only something I've learned in the past year or two. I always tried to bend my ears to hear it as a m7b5 but it just doesn't work for me. And I only made the whole dom9th connection a couple of months ago. But i do need to get out of the bedroom guitarist rut and play more gigs/jams.
Eamon Russell it’s like getting the cheat codes haha
@@JazzGuitarScrapbook Uh oh, that's exactly what I'm doing right now......... how do I stop this, what shortcuts and lessons must I learn? I prefer not to learn the hard way later in life