What did you think of this video? Do you know any songs that contain a II7#5 chord? Leave a comment. ✅ Get the companion PDF lesson and ALL of my Lessons here ▶︎︎ www.patreon.com/adamsmale ❇ or purchase the 7(#5) Lesson here ▶︎ www.adamsmale-jazz.com/shop/7-sharp-5-the-most-controversial-chord-in-jazz/ ✳ You can download the preview lesson here ▶︎ www.adamsmale-jazz.com/7-sharp-5-the-most-controversial-chord-in-jazz-preview/
@@JazzRockswithAdam Now you're talking about something entirely different. Ideas about how to play over chord changes can be useful. They aren't controversial either. Maybe that's your hook to get people to watch?
Nice video. Very informative. I'll add some info here about scale names. First, at about 12:00 you introduce a scale called "Harmonic Phrygian", which I assume is Harmonic Minor with a ♭2, but that scale is usually called Neapolitan Minor. The third mode of Neapolitan Minor is called Mixolydian Augmented. You add a major 7th to make it into a bebop scale - the same as Dominant Bebop with a ♯5 replacing the usual ♮5. (I'm getting some of these names from Ian Ring's website.) MORE: At around 13:00, you introduce the "Augmented Scale", a nine-note scale, but the conventional "Augmented Scale" is hexatonic (1-♯2-3-5-♯5-7) - a mingling of two augmented triads. Your "Augmented Scale" is "Messiaen Mode 3" (Ian Ring's Scale 3549) - a scale that Alan Holdsworth often used. Your Mixo ♭2♭6 at 13:13 is better known as Phrygian Dominant, but you add ♮7 as a passing tone, which is nice. I was expecting the Altered Scale (a.k.a., Superlocrian) to make an appearance. You went with the Dorian Pentatonic of the ♭9, which could be seen as part of the Melodic Minor scale of the ♭9 or the Altered Scale of the tonic (the 7th mode of Melodic Minor). You can add the ♯5/♭6 to that Melodic Minor scale to get the Melodic Minor Bebop scale (Ian Ring's Scale 2989), then play that using the ♭9 of the 7♯5♭9 as the root note. When you start on that ♭9, then notes 1, 3, 5 and 7 of the Melodic Minor Bebop scale are the ♭9, 3, ♯5 and ♭7 of the 7♯5♭9 chord and the remaining notes form a diminished 7th chord. There also are some neat patterns in this scale. For example, by starting on the ♭9, you're also starting on the 5th of the tritone and every third note of the scale is a chord tone of that tritone chord. So over G7♯5♭9, we play A♭-B♭-C♭, D♭-E♭-F♭, F-G-♭A. Each set of three notes has a Whole-Half interval pattern. This makes it easy to find the notes and to make interesting patterns out of it - you have D♭ major, E♭ major and E (or F♭) major arpeggios combining to make the scale (with only the A♭ repeating).
Yes, sometimes different names for the same thing. I was taught differently in some cases, other cases it’s names I came up with. I also never studied classical theory so didn’t know about a certain Messian scale, for example. Great comment though. Thanks for watching!
@@JazzRockswithAdam - I learned more from your video than from anything else in the past month. It's not that I already know this stuff, just some of it, so I spent about an hour on the video, taking notes, looking things up. Writing my last paragraph took a lot of time, but I think it was worth it. A video like yours can be fun to watch, but to really get something out of it requires a lot of investment. I'm definitely going to do a lot better with 7♯5 chords now. So thanks very much for your efforts!
@@JazzRockswithAdam wow, interesting, where could I read about that scale? and if you know of any famous examples of using it? until today never heard of it
@@evgenyshakhnovich it’s not a scale you’ll read about in theory books. But it works great. If there isn’t a scale for what you need, who says you can’t make up your own?
In the example "Someday my prince will come," the score at 6:21 is incorrect. It has one flat, so it should be in F major, but actually it's in Bb with two flats. So, the B and E chords should be flattened. Btw, great video!
D+ ll° tiene sentido si modulamos de CMaj I° a Gbl° pues las dos tonalidades comparten los disminuidos , y dominantes y D+ coincide conD° en el 5# de Gb.en la tonalidad menor y mayor armonicas
What did you think of this video? Do you know any songs that contain a II7#5 chord? Leave a comment.
✅ Get the companion PDF lesson and ALL of my Lessons here ▶︎︎ www.patreon.com/adamsmale
❇ or purchase the 7(#5) Lesson here ▶︎ www.adamsmale-jazz.com/shop/7-sharp-5-the-most-controversial-chord-in-jazz/
✳ You can download the preview lesson here ▶︎ www.adamsmale-jazz.com/7-sharp-5-the-most-controversial-chord-in-jazz-preview/
I watched the first 30 seconds and gave up. Chords are not controversial. Period.
@@thegreatatheismo5005 this one seems to be.
@@JazzRockswithAdam Based on what? What's controversial about any chord?
@@thegreatatheismo5005 I don’t think you watched it, but I explain why and get into strategies to play over it.
@@JazzRockswithAdam Now you're talking about something entirely different. Ideas about how to play over chord changes can be useful. They aren't controversial either. Maybe that's your hook to get people to watch?
this is great stuff. Glad I found your channel!
Thanks Josh! Thanks for letting me know and leaving a comment.
Nice video. Very informative. I'll add some info here about scale names. First, at about 12:00 you introduce a scale called "Harmonic Phrygian", which I assume is Harmonic Minor with a ♭2, but that scale is usually called Neapolitan Minor. The third mode of Neapolitan Minor is called Mixolydian Augmented. You add a major 7th to make it into a bebop scale - the same as Dominant Bebop with a ♯5 replacing the usual ♮5. (I'm getting some of these names from Ian Ring's website.) MORE:
At around 13:00, you introduce the "Augmented Scale", a nine-note scale, but the conventional "Augmented Scale" is hexatonic (1-♯2-3-5-♯5-7) - a mingling of two augmented triads. Your "Augmented Scale" is "Messiaen Mode 3" (Ian Ring's Scale 3549) - a scale that Alan Holdsworth often used.
Your Mixo ♭2♭6 at 13:13 is better known as Phrygian Dominant, but you add ♮7 as a passing tone, which is nice.
I was expecting the Altered Scale (a.k.a., Superlocrian) to make an appearance. You went with the Dorian Pentatonic of the ♭9, which could be seen as part of the Melodic Minor scale of the ♭9 or the Altered Scale of the tonic (the 7th mode of Melodic Minor). You can add the ♯5/♭6 to that Melodic Minor scale to get the Melodic Minor Bebop scale (Ian Ring's Scale 2989), then play that using the ♭9 of the 7♯5♭9 as the root note. When you start on that ♭9, then notes 1, 3, 5 and 7 of the Melodic Minor Bebop scale are the ♭9, 3, ♯5 and ♭7 of the 7♯5♭9 chord and the remaining notes form a diminished 7th chord. There also are some neat patterns in this scale. For example, by starting on the ♭9, you're also starting on the 5th of the tritone and every third note of the scale is a chord tone of that tritone chord. So over G7♯5♭9, we play A♭-B♭-C♭, D♭-E♭-F♭, F-G-♭A. Each set of three notes has a Whole-Half interval pattern. This makes it easy to find the notes and to make interesting patterns out of it - you have D♭ major, E♭ major and E (or F♭) major arpeggios combining to make the scale (with only the A♭ repeating).
Yes, sometimes different names for the same thing. I was taught differently in some cases, other cases it’s names I came up with. I also never studied classical theory so didn’t know about a certain Messian scale, for example.
Great comment though. Thanks for watching!
@@JazzRockswithAdam - I learned more from your video than from anything else in the past month. It's not that I already know this stuff, just some of it, so I spent about an hour on the video, taking notes, looking things up. Writing my last paragraph took a lot of time, but I think it was worth it. A video like yours can be fun to watch, but to really get something out of it requires a lot of investment. I'm definitely going to do a lot better with 7♯5 chords now. So thanks very much for your efforts!
@@mbmillermo Thanks! I put a lot of effort into my videos so I’m really glad you find it useful. I hope to see you around here again!
Great video! Thank you for sharing the knowledge! 🙏
You’re welcome! Thanks for watching and for your comment. Hope to see you around here again.
your channel is gold!!
Thank you Vitor. I hope to see you around here some more. Cheers!
Great video, Adam. So much in here.
Thanks Carl. I’m glad you weren’t as frightened to watch it as some people in the comments. 😁
Need all the jazz karma I can get! Thanks for the video.
Ha!! Don’t forget to practice! I’ve got lots of videos to give you some ideas. 😉
what is harmonic phrygian scale? 12:01
This C scale is the 3rd mode of A Harmonic Phrygian: Harmonic Minor with a lowered 2nd degree. Or a Phrygian scale with a raised 7th.
@@JazzRockswithAdam wow, interesting, where could I read about that scale? and if you know of any famous examples of using it? until today never heard of it
@@evgenyshakhnovich it’s not a scale you’ll read about in theory books. But it works great. If there isn’t a scale for what you need, who says you can’t make up your own?
@@JazzRockswithAdam fair enough :]
In which scale is the V7(#5) chord contained?
For example, in which scale is the B7(#5) contained?
Thank you
Quite a few actually. B Mixo b6, B Mixo b2 b6, B Altered R b2 b3 b4 (3) #4 #5 b7, B Whole Tone, are a few.
In the example "Someday my prince will come," the score at 6:21 is incorrect. It has one flat, so it should be in F major, but actually it's in Bb with two flats. So, the B and E chords should be flattened. Btw, great video!
Duly noted. That was a while ago. I’ll have to watch it again to listen to what you mention. Thanks for watching and thanks for your comment!
Looks like I forgot to put Eb in the key signature.
@@JazzRockswithAdam Nobody is perfect :)
@@GLucifero It’s tuff when you’re a one-man operation.
D+ ll° tiene sentido si modulamos de CMaj I° a Gbl° pues las dos tonalidades comparten los disminuidos , y dominantes y D+ coincide conD° en el 5# de Gb.en la tonalidad menor y mayor armonicas
💪
Gracias Adam tu método me está abriendo a una forma más profunda de entender lo que toco
@@19648746 ¡Impresionante!
I wasn’t worried about it, but I am now haha
Good! Ha!! Thanks for watching and leaving a comment.
Ghost of Ray Brown pls give me the good jazz karma
Prez is the aug triad daddy
Yes indeed. Coleman Hawkins too. But especially the Pres.
Did I miss something? I thought you were going to talk about minor 7 #5 not dominant. Seems like you got a little side tracked and never made it back!
Nope, it’s all about 7#5 right from the start. I don’t believe I mentioned anything about m7(#5)
👏🏻👏🏻👏🏻
Thanks Gery!