Absolutely love this one! I'm really baffled as to why I did not learn this in my undergrad studies in jazz voice/piano. Not one professor taught this scale. WTH??? I really didn't learn this until attending a jazz camp. Thank you so much for filling in the gaps. Also, I've been seeing a lot of music education apps that say, " learn how to play now - no need to learn boring scales." 😮 Now, as a music educator myself, I am so grateful for musicians who love/respect the language. Saying to be a musician and not learn the amazing world of scales is like learning calculus without functions! Anyway, thank you. I'm loving your style!
Isn't it the truth? Scales are SO important, and the basis of every piece of music theory. I get it. Some people just want to be able to play something for fun, and have no aspirations to play in a band or cocktail lounge. But you can't be a serious musician and not know scales. Unless you think you can, by my calculation, memorize some 2700 chord shapes. Then know how to use them!
I really like your approach to the scales. You taught me the diminished scale. Love it. Yes, it takes thought so I'll keep thinking and focused. Can't wait 'til it comes easier. Sincere thanks. Mel
Amazing lesson on the diminished scale. I’ve put a lot of work into wrapping my head around this scale and trying to apply it in my solos. It’s really helped with enclosures if that makes sense.
Damn, you nailed it in this lesson -- I also follow those other cats you mention, but you must be the most open minded and optimistic about us simply learning the scale, it really has the sound of jazz all in it, it has most of the dominant extensions, and has to be appreciated for how forgiving and natural it sounds when used. Played linearly or more inventively is performance detail, and detail relating to what you want to hear as a player. So glad I saw these insights from you! I look forward to seeing how it relates to use in the blues, but off course it works in the blues, blues is all dominant... sometimes the obvious is not so obvious to me.
Can't thank you enough for all the piano sheets here and elsewhere from you. I'm new in this diminished scale thing as far as playing piano is concerned but my musical taste in songs is jazz hence this turnaround. I hope to hear your Misty composition
Great video, Tony! I immediately grasped the versatility of the diminished scales. Now I just have to familiarize myself with them. You made it very clear how they can be used almost anywhere and to great effect. Very insightful stuff!
I enjoyed this, Tony. Is it possible that you do a couple of sessions on the fingerings of the 12 Blues scales? Having probs. Thanx. Learning a lot from you. Also dig your singing. Alles Gute from your Missionary Baptist(Oakland) Jazz singer/arranger happily exiled in Deutschland. ❤️😎🇧🇪
I do totally agree that on an unaltered chord although there is a clash with the 9 and the b9...Look at It could happen to you there is a maj7 in a melody clashing with the m7 in the Left hand..Just those things is what sound very good...I am convinced that even an a +5 altered dominant LH if you play it with a certain intension your13 that obviously will resolve to a 7 will sound as an interesting moment...those choices of scales make also little outside movements in itself, while the intension maybe not to go outside...Isn't the Paradox that "wrong" in the right situation could sound " quite Good"?
No. Believe it or not, the B altered fits the am7b5 better. The A lydian#2 is what that scale is called. I'll explain this in a short video later today.
I've got also another suggestion for the dimished scale, built upon your hint of 4 whit keys, Wouldn't it be nice to play in 3 groupings of 4keys like on F7 in Autumn Leaves for example to play as a fast run: DCBA(White) AbGbFEb(Black mostly) and lower octave DCBA again...if you put that upside down we have that other option: AbGbFEb > DCBA> AbGbFEb then the idea is taken on a larger "scale"
Hi Tony, I want to say that I am also looking to channels sometimes, specifically I would say lesson 68 of Miko Hilden, might be theory (modern) that is maybe something interesting because it is about A new finding of voices...those are in away polyphonic because not all voices move in the same direction, The very Great thing of Miko Hilden is that often he uses different books, with sometimes really overlooked or not so well known stuff especially the above mentioned lesson...The most interesting voicing that found myself(and is based upon it but different choice then in his example) are: Dbmaj7#11/Lydian landscape(3voices a Db pedal is implied): EbAbBb> FGC>1st inv AbBbEb >GCF>2nd inv> BbEbAb> CFG played in a upward motion then the same in Cmaj#11 sound great for example in a Tune like Pannonica of Thelonious Monk, my finding is that it has of course relation with McCoy's approach, but because there are used specific two groups of 125 145 that are inversions of each other but played on a nother Step, the two stacks are purely symmetrical, but by the inv. tend to sound a bit more sophisticated even...Isn't that where we all looking for? Thank you Tim Miller and Miko Hilden, Looking forward to your response...if this is new to you or already a cliché!!!
He Sounds great; it sounds easy; but saying “ you can add. Chord tone” or “change this to that” doesnt help me; why not say the notes or give the formula for the diminished scale? Guess i can figure it out elsewhere!
Absolutely love this one! I'm really baffled as to why I did not learn this in my undergrad studies in jazz voice/piano. Not one professor taught this scale. WTH??? I really didn't learn this until attending a jazz camp.
Thank you so much for filling in the gaps.
Also, I've been seeing a lot of music education apps that say, " learn how to play now - no need to learn boring scales." 😮
Now, as a music educator myself, I am so grateful for musicians who love/respect the language. Saying to be a musician and not learn the amazing world of scales is like learning calculus without functions!
Anyway, thank you. I'm loving your style!
Isn't it the truth? Scales are SO important, and the basis of every piece of music theory. I get it. Some people just want to be able to play something for fun, and have no aspirations to play in a band or cocktail lounge. But you can't be a serious musician and not know scales. Unless you think you can, by my calculation, memorize some 2700 chord shapes. Then know how to use them!
I really like your approach to the scales. You taught me the diminished scale. Love it. Yes, it takes thought so I'll keep thinking and focused. Can't wait 'til it comes easier. Sincere thanks. Mel
Tony I love your channel. You are so down to earth. You are providing a great service to so many people who play and are self taught.
Amazing lesson on the diminished scale. I’ve put a lot of work into wrapping my head around this scale and trying to apply it in my solos. It’s really helped with enclosures if that makes sense.
First class instruction from one of the star teachers on RUclips!
Damn, you nailed it in this lesson -- I also follow those other cats you mention, but you must be the most open minded and optimistic about us simply learning the scale, it really has the sound of jazz all in it, it has most of the dominant extensions, and has to be appreciated for how forgiving and natural it sounds when used. Played linearly or more inventively is performance detail, and detail relating to what you want to hear as a player. So glad I saw these insights from you! I look forward to seeing how it relates to use in the blues, but off course it works in the blues, blues is all dominant... sometimes the obvious is not so obvious to me.
Great approach.......thanks 4 sharing ur understanding...much appreciated!
Grazie mille Maestro
Love all of your videos, Tony!
I agree with our Scandinavian friend here, your the best Tony!
Can't thank you enough for all the piano sheets here and elsewhere from you. I'm new in this diminished scale thing as far as playing piano is concerned but my musical taste in songs is jazz hence this turnaround. I hope to hear your Misty composition
Thanks Tony! You’re an awesome dude, love your videos
Tony you could make a record and be another success in your career
Great stuff. I enjoyed your take on the diminished scales and chords.
Another great video. Thanks!
Another fantastic video Tony. Your lessons are superb. Keep them coming. Cheers
Great video, Tony! I immediately grasped the versatility of the diminished scales. Now I just have to familiarize myself with them. You made it very clear how they can be used almost anywhere and to great effect. Very insightful stuff!
Yes, we listen to all the same guys! I've seen Kent Hewitt play, since we're.both in southern New England. Nice guy! Great video. I subscribed.
Thanks Tom!
I enjoyed this, Tony. Is it possible that you do a couple of sessions on the fingerings of the 12 Blues scales? Having probs. Thanx. Learning a lot from you. Also dig your singing. Alles Gute from your Missionary Baptist(Oakland) Jazz singer/arranger happily exiled in Deutschland. ❤️😎🇧🇪
A great tutorial, very detailed and uaeful, many thanks.
Sounds awesome man
I do totally agree that on an unaltered chord although there is a clash with the 9 and the b9...Look at It could happen to you there is a maj7 in a melody clashing with the m7 in the Left hand..Just those things is what sound very good...I am convinced that even an a +5 altered dominant LH if you play it with a certain intension your13 that obviously will resolve to a 7 will sound as an interesting moment...those choices of scales make also little outside movements in itself, while the intension maybe not to go outside...Isn't the Paradox that "wrong" in the right situation could sound " quite Good"?
Thanks Tony. Great video. Is there any chance you could do one on Song For My Father?
ruclips.net/video/kv9VWZPl6UQ/видео.html
Thanks
Hi Tony, I got question. Is it possible to play Aaltered scale over Am7b5 and then Daltered over D7? Or not. Could you help me out, please Sir.
No. Believe it or not, the B altered fits the am7b5 better. The A lydian#2 is what that scale is called. I'll explain this in a short video later today.
I've got also another suggestion for the dimished scale, built upon your hint of 4 whit keys, Wouldn't it be nice to play in 3 groupings of 4keys like on F7 in Autumn Leaves for example to play as a fast run: DCBA(White) AbGbFEb(Black mostly) and lower octave DCBA again...if you put that upside down we have that other option: AbGbFEb > DCBA> AbGbFEb then the idea is taken on a larger "scale"
Fingering 4321,4321,4321 hmm, good idea, I tried it , works well!
Hi Tony, I want to say that I am also looking to channels sometimes, specifically I would say lesson 68 of Miko Hilden, might be theory (modern) that is maybe something interesting because it is about A new finding of voices...those are in away polyphonic because not all voices move in the same direction, The very Great thing of Miko Hilden is that often he uses different books, with sometimes really overlooked or not so well known stuff especially the above mentioned lesson...The most interesting voicing that found myself(and is based upon it but different choice then in his example) are: Dbmaj7#11/Lydian landscape(3voices a Db pedal is implied): EbAbBb> FGC>1st inv AbBbEb >GCF>2nd inv> BbEbAb> CFG played in a upward motion then the same in Cmaj#11 sound great for example in a Tune like Pannonica of Thelonious Monk, my finding is that it has of course relation with McCoy's approach, but because there are used specific two groups of 125 145 that are inversions of each other but played on a nother Step, the two stacks are purely symmetrical, but by the inv. tend to sound a bit more sophisticated even...Isn't that where we all looking for? Thank you Tim Miller and Miko Hilden, Looking forward to your response...if this is new to you or already a cliché!!!
Interesting, I'll check it out, thanks
Hello, ay I request Sir Tony! Somewhere Over The Rainbow with Ballad Intro. Thank and God bless you!
He Sounds great; it sounds easy; but saying “ you can add. Chord tone” or “change this to that” doesnt help me; why not say the notes or give the formula for the diminished scale? Guess i can figure it out elsewhere!
I see your point. I'm rushing through this lesson too quickly.
I also follow other channels on RUclips, one particularly might interest you it's New Jazz Oliver Prehn. 😎
or of course seen as 6 on a count then we have this lick as 24 in one bar...(difficult but nice)
This Lick I practiced on metronome and it works I guess on the dim chords in Donna Lee and All thehings you are 24 at a bar