- Hi everybody, my name is Jens Larsen.
Finding some good ideas when you're improvising
over an altered dominant can be quite difficult.
Often, you just end up running up and down the scale
without playing anything that's really that interesting.
In this video, I'm going to show you three different
pentatonic scales within the altered scale that
you can use when you're improvising over an
altered dominant, and that's a really easy way to
get some interesting and quite strong
melodic ideas into your playing.
I really like using pentatonic scales in my playing.
It's a sound that I associate more with modern jazz
since pentatonic scales didn't really appear in jazz
until the end of the hard bop era.
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about improvising over chord changes,
checking out some interesting arpeggios or chord voicings,
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(plays guitar)
G7 altered is the same as A flat melodic minor.
That means that the notes that we have available here are
A flat, B flat, B, D flat,
E flat, F, G,
and then the A flat on top, on the octave here.
I'm thinking of this from a G7 point of view,
and that's why I'm calling it a B and not a C flat
because if you're thinking of this as an A flat minor scale,
then it would actually be a C flat.
Since we're thinking G7, then the B is
a little bit more close to home
because that's the third of the chord.
We only have one minor pentatonic scale
within this scale, and that's the one from B flat.
So we have B flat minor pentatonic.
That's B flat, D flat, E flat, F, A flat, and B flat.
That's the one I'm using in this first example.
Of course, you will probably know this position already,
(plays scale)
which is kind of like a second position
B flat minor pentatonic.
Another way of playing it that I use quite a lot
where I'm using three notes per string on
some of the strings is to play it with
three notes on one string and then one note
on the next string, and then continue that pattern.
That could be something like this.
(plays scale)
The reason for doing this is really just that,
in that way, we can easier get to some of
the larger intervals within the scale.
One of the things I really like about
the pentatonic scale is that if you use some of these
larger intervals, then you get a really nice, open sound.
The first part of the line, you could look at it as
being a D flat six or a B flat minor seven arpeggio.
So I'm starting on the D flat, and then up to the F,
A flat, B flat, D flat.
That's all pretty much (mumbles).
(plays scale)
D flat six arpeggio, in this case.
Then I'm skipping up to the F, and then pulling off
down to the E flat.
This idea of mixing picking and legato is something that's
actually quite important for me when I'm
using these pentatonic scales.
I'm gonna come back to that
a little bit later in this video.
I'm doing the pull-off down to the D flat again,
then up the D flat major triad.
(plays notes)
I'm using two times, three notes per string idea,
so first, just three notes on one string.
(plays notes)
And then the next string,
starting on the E flat. (plays note)
Here, I'm using a large intervals.
I'm skipping up a fourth up to the A flat
(plays note)
and then down the scale from here.
(plays notes)
Then resolving that to C major on the G,
(plays note)
and then just a short fragment where I'm going from
D to E and B to A
(plays notes and chord)
to resolve to the 13 on the C major seven.
This next lick is using a different pentatonic scale,
which I find is really useful if you wanna
play over an altered dominant, and actually,
anything you wanna use with melodic minor,
but especially the altered dominant because it's also
closely related to the tri-tone substitution.
I'm also gonna go over a small exercise that's gonna
help you develop your ability to mix legato and picking
because I find that that's really essential and really
useful if you wanna play these
two-note-per-string patterns fast.
(plays notes)
In this example, I'm using an
A flat minor six pentatonic scale.
That's the same as an A flat minor pentatonic scale,
except I've exchanged the flat seven with a major six.
So that means that we have A flat, B, D flat,
E flat, F, and then A flat again.
You can play that something like this.
(plays scale)
Another way of looking at these notes is to
order them differently and then think of them as
a D flat seven with a nine arpeggio.
So then we have D flat, F, A flat,
B, and then E flat.
In that way, we actually have this relationship to
the G7 because it's related to a D flat seven,
which is a tri-tone substitute of G7.
That's the kind of sound that I'm using in the lick as well.
The first part of this lick is really just
the D flat seven arpeggio.
I'm just playing an ascending
D flat seven arpeggio from D flat.
(plays notes)
Once I'm on the octave here, I'm pulling off
down to the seventh, (plays notes)
skipping up to the third, (plays notes)
and then down to the root again,
and then up to the fifth, (plays notes)
down to the third, (plays notes)
up to the seventh, and then pulling off
down to the fifth, (plays note)
and then up to the ninth, (plays notes)
down to the root, (plays notes)
again with a pull-off,
up to the third, (plays notes)
and then I'm resolving to the C major seven
by playing this small fragment of the C major scale,
(plays notes)
ending on the 13 of the C major seven.
This lick really illustrates a cornerstone in
my technique, which is that I'm combining
legato with picking really often.
I find that that's really useful, both for
solving difficult things for my right hand,
because if I'm using legato, then I'm buying my
right hand some time to move from string to string,
for instance, and it's also really a nice way of
just giving some natural-sounding accents to
certain notes within the line.
It's also a good way of just getting
some good phrasing across.
Pentatonic scales are really great for practicing this
because they're two notes per string and they
lend themselves really well to having these
exercises where you play patterns,
and some of the patterns are gonna be
easy to play if you use legato.
An example of this, if we take the
A flat minor six pentatonic, would be to play it in
groups of three notes.
To do that descending, that could be something like this.
(plays scale)
The next lick is using a pentatonic scale that's
maybe a little bit more exotic, but is also
really great for getting some of the
core melodic minor sounds out.
In this lick, I'm also really demonstrating how I
use economy picking quite often.
Besides that, it's also a really great showcase of
how you can use an E seven sus four arpeggio
on a C major seven.
(plays notes)
Here, I'm using the E flat major,
flat six pentatonic scale, so that's E flat,
F, G, B flat, B, and then back to E flat.
This is a scale that has an augmented triad in there,
so we have ... (plays notes)
That's really a core part of the sound of melodic minor.
If we think of melodic minor as being
the tonic minor sound, (plays chord)
then a part of that is definitely that augmented triad
and the minor, major sound.
That's in there, and that's a really strong,
really powerful sound to use.
One way of constructing this scale that's
really useful is, now we're using it
on a G7 altered.
G7 is, of course, related to C.
In this case, to maybe C minor.
If you take a C minor pentatonic scale like this
(plays scale)
and then you lower the roots of the C down to a B,
then you have this scale.
(plays scale)
That's the E flat major, flat six pentatonic scale.
The first part of this line is really just
using that augmented triad. (plays notes)
I'm picking it using economy picking, so the first note
is a down stroke, (plays note)
and then I'm following that up with two up strokes.
(plays notes)
Then I'm doing the same thing on the next string,
so the B flat and then E flat.
So G and E flat, (plays notes)
and then same idea again from F.
(plays notes)
Now we're going down to a B,
(plays note)
then up to E flat, (plays notes)
now it's more straight, (mumbles) picking.
(plays notes)
That's really just that pattern down the ...
(plays notes)
Down through the scale, resolving to the E
and the C major seven.
Then on the C major seven, I'm first playing this
E7 sus four arpeggio.
(plays notes)
Then going up to the G, (plays note)
then down to the D again, (plays note)
up to E, and then ending on the 13 of the C major seven.
This video touched on using different techniques,
so mixing, legato, and picking.
And also, this last example was economy picking.
If you want me to make more videos on this,
you can of course let me know about that in the comments.
If you wanna learn more about jazz guitar
and this is the first time you see one of my videos,
then subscribe to my channel.
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That's about it for this week.
Thank you for watching, and until next week.
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