Altered scale used to be kind of "scary" to me, it no longer is. This lesson is very comprehensive, very useful. Reminds me of another video on the subject by Nick Maneilla, I believe. Thank you so very much !
Agreed. Melodic minor on the b2 of the dominant chord is easier to remember for me. Same with modes of other weird scales like harmonic minor and major. It's too much to remember if I'm trying to think of them as separate scales.
When you specify the f minor 7 flat 5 chord of this series, I think it would be nice to include the natural 9- F minor 7 flat 5natural 9. Also, on the E flat 7, you could call it a natural 9 sharp 5. That is more thorough, Thanks for this video. These chords all have their moments in a standard tune, and each has it's context. Thanks - good to see this-
hey! thank you for your vidéo and your work. it's really helpfull and it gives a lot of ways to work. You have such a beautiful ability to play. I really enjoy hearing you. it sounds clear. colors are well used, and not too mixed. something i don't understand when you plan your 2d licks, on the Ab minor (maj 7), is that you use a G note in the lick. It looks like being out of the scale, but it sound. Why? using a maj 3rd on a minor scale is really risky no? :-) i can't figure it. and if i can't figure it, i can't play it. i can't dare it. Thank again for all your work!! it's really well appreciated! greetings from Belgium!
I like the approach in term of triads instead of playing the full scale. It's often difficult to make the alterd scale "sound" clearly. Ab minor sounds particularly nice and dissonant. Althought I didn't really understand how to find them based on the scale (is there an harmonization of the altered scale?)
Yes altered is a mode of melodic minor! Melodic minor can be harmonized I would suggest checking it out. Another mode of melodic minor is Lydian dominant, so these triads can be used in a similar circumstance.
The G altered scale has the following notes: G - Ab - Bb - Cb - Db - Eb - F You can thus harmonize it in these triads: Gdim - Abmin - Bbmin - Cbaug - Db - Eb - Fdim
I got a question about scales. You show us at least 7 scales just on the G7 chord alt. Is there a way to know how you found them, are they diatonic to the chord? Where could I find all the scales of every chords ?Do you have a tutorial on the subject ? By the way your lessons are really good, you do have a great sense of music, and help me a lot, thanks from Montreal 🍻
I think this is kind of modal mixtures :) You have V7 chord,which is major and now You can switch mixolydian on phrygian then Your phrygian scale become alter mixolydian scale because of tension notes in context to V7 chord :)
in the key of C gabcdef = mixolydian major scale g aflat bflat c d eflat f = g phrygian minor scale BUT in context to G7 chord a flat = b9 b flat = #9 e flat = b13 9,11,13 are colour tones in scales,even if they are not # or flat
@@kukumuniu5658 thx, I will study this harmony for sure, I got so much to learn, is there a book or some document about a scale can be played on a certain chord ? I must learn my harmony deeply, thx for this lesson
@@sega62s There is no law or rule that says you can't do something or that you have to do something rules which exist serve only to facilitate the teaching process. an example would be avoid notes most avoid notes are characteristic notes that determine the uniqueness of chosen scale :) and if you avoid them you will lose what is most important in modal music. You have to know the rules in order to break them, because the way how you break the rules creates your original playing style. here is info about characteristic notes for each modes :) c ionian - 4&7 degree (f,b) d dorian- 3&6 degree(f,b) e phrygian - 2&5 (f,b) f lydian - 4&7 (b,e) g mixo. - 3&7 (b,f) a aeolian - 2&6 (b,f) b locrian - 2&5 (c,f) Position of the tritone does not work in lydian and locrian because in root note there is nothing characteristic . in f lydian ,f is root note in b locrian,b is root all scales have root on the first degree and this is why tonic is not a characteristic note. lydian - 4&7(b,e) locrian - 2&5(c,f)
@@sega62s try to play half-whole diminished scale (which is not major scale) from g: G - Ab - Bb - B - C# - D - E - F for G7 chord,which is major chord and check which notes sound "wrooong" that "wrong" notes are just tensions,not mistakes :D
I think Rotem is an amazing musician and teacher. Thanks for all your lessons here 🙏🏼. (Just a couple of things that I don’t like…his hummin’ while he’s soloing and the amount of reverb on the guitar’s sound; too much for me).
Which is your fav lines? / is the concept clear?
When I go to USA one day, I will see you live and speak to you. You're a huge inspiration. Thank you for your channel!!
thanks so much! would be fun to meet ya!
Whatch your back Rotem....
Finally the best explanation and material for alt scales and chords on guitar. Not even finished the first minutes. And now back to the video 🙂👍
🙏🙏
Great lesson.Thanks !
Altered scale used to be kind of "scary" to me, it no longer is. This lesson is very comprehensive, very useful. Reminds me of another video on the subject by Nick Maneilla, I believe. Thank you so very much !
Thank you for making the alt scale more clear to me !
Had a nice day with your music in office. All my colleagues appreciated. Nice work!
This is a bit difficult for me but I think it's what I was looking for. With gratitude from Korea
I have been working on the altered scale a lot, but this is a brilliant exposé. Thank you. I joined your patreon page. :-)
I really like your format here - colors of each scale chord. I needed that inspiration to break out of tritone sub habit. Super.
Always awesome content 👍 thank you so much! 🎸
Great video man, using lines as examples to show these concepts really helps!
Interesting harmonies here brother! I’m really digging the sounds of Bb7 and F half dim over the G7.
You're a amazing teacher sir thank you for the lesson
Thank you, Rotem. It's helpful for me to think of the altered scale as the 7th mode of the harmonic minor scale
Or as 1, minor 2, minor 3, flat 4, flat 5, minor 6, minor 7.
Agreed. Melodic minor on the b2 of the dominant chord is easier to remember for me. Same with modes of other weird scales like harmonic minor and major. It's too much to remember if I'm trying to think of them as separate scales.
When you specify the f minor 7 flat 5 chord of this series, I think it would be nice to include the natural 9- F minor 7 flat 5natural 9. Also, on the E flat 7, you could call it a natural 9 sharp 5. That is more thorough, Thanks for this video. These chords all have their moments in a standard tune, and each has it's context. Thanks - good to see this-
MY fav lines : 2 (cause I always loved this minor melodic thing) 3 (Bbmin) and 6 (just like the teacher...)
thakns
What in gods name have you done to that guitar!? Looks like field triage bandaging! Nice lesson
Real nice...will you do the same with diminished scale? Cheers
hey! thank you for your vidéo and your work. it's really helpfull and it gives a lot of ways to work. You have such a beautiful ability to play. I really enjoy hearing you. it sounds clear. colors are well used, and not too mixed.
something i don't understand when you plan your 2d licks, on the Ab minor (maj 7), is that you use a G note in the lick. It looks like being out of the scale, but it sound. Why? using a maj 3rd on a minor scale is really risky no? :-)
i can't figure it. and if i can't figure it, i can't play it. i can't dare it.
Thank again for all your work!! it's really well appreciated! greetings from Belgium!
I like the approach in term of triads instead of playing the full scale. It's often difficult to make the alterd scale "sound" clearly. Ab minor sounds particularly nice and dissonant. Althought I didn't really understand how to find them based on the scale (is there an harmonization of the altered scale?)
Yes altered is a mode of melodic minor! Melodic minor can be harmonized I would suggest checking it out. Another mode of melodic minor is Lydian dominant, so these triads can be used in a similar circumstance.
@@lukeweston1234 Thanks for your response! Minor is just a whole other world... I'll check it out :)
The G altered scale has the following notes: G - Ab - Bb - Cb - Db - Eb - F
You can thus harmonize it in these triads: Gdim - Abmin - Bbmin - Cbaug - Db - Eb - Fdim
what guitar is that? it is so beautiful
new here, great stuff. can not download the PDF without paying (not sure if i will continue any courses)
Or just pay ... ?
Nice lines, but worried you could cop a string in your eye!!
I got a question about scales.
You show us at least 7 scales just on the G7 chord alt.
Is there a way to know how you found them, are they diatonic to the chord?
Where could I find all the scales of every chords ?Do you have a tutorial on the subject ?
By the way your lessons are really good, you do have a great sense of music, and help me a lot, thanks from Montreal 🍻
I think this is kind of modal mixtures :)
You have V7 chord,which is major
and now You can switch mixolydian on phrygian
then Your phrygian scale become alter mixolydian scale
because of tension notes in context to V7 chord :)
in the key of C
gabcdef = mixolydian major scale
g aflat bflat c d eflat f = g phrygian minor scale
BUT
in context to G7 chord
a flat = b9
b flat = #9
e flat = b13
9,11,13 are colour tones in scales,even if they are not # or flat
@@kukumuniu5658 thx, I will study this harmony for sure, I got so much to learn, is there a book or some document about a scale can be played on a certain chord ?
I must learn my harmony deeply, thx for this lesson
@@sega62s There is no law or rule that says you can't do something
or that you have to do something
rules which exist serve only to facilitate the teaching process.
an example would be avoid notes
most avoid notes are characteristic notes
that determine the uniqueness of chosen scale :)
and if you avoid them you will lose what is most important in modal music.
You have to know the rules in order to break them,
because the way how you break the rules
creates your original playing style.
here is info about characteristic notes for each modes :)
c ionian - 4&7 degree (f,b)
d dorian- 3&6 degree(f,b)
e phrygian - 2&5 (f,b)
f lydian - 4&7 (b,e)
g mixo. - 3&7 (b,f)
a aeolian - 2&6 (b,f)
b locrian - 2&5 (c,f)
Position of the tritone does not work in lydian and locrian
because in root note there is nothing characteristic .
in f lydian ,f is root note
in b locrian,b is root
all scales have root on the first degree
and this is why tonic is not a characteristic note.
lydian - 4&7(b,e)
locrian - 2&5(c,f)
@@sega62s try to play half-whole diminished scale
(which is not major scale)
from g:
G - Ab - Bb - B - C# - D - E - F
for G7 chord,which is major chord
and check which notes sound "wrooong"
that "wrong" notes are just tensions,not mistakes :D
I think Rotem is an amazing musician and teacher. Thanks for all your lessons here 🙏🏼. (Just a couple of things that I don’t like…his hummin’ while he’s soloing and the amount of reverb on the guitar’s sound; too much for me).