Scales

I just watched a Tom Quayle video on this topic that contains some good information but needed some translation before it made sense to me. I thought I'd provide the translation for anyone else who found it useful.

This is a quick note on two superimposition strategies that are quite common in jazz, and that enable you to use your triad and seventh arpeggios to create more sophisticated sounds without having to memorize anything new.

So it's a week since my last post on the subject and two since I started working on this scale with some seriousness. The patterns and sounds are becoming quite familiar now and my main job this week was to find modal applications over different chord qualities. This is an important step in integrating a new sound into your real-world playing rather than just noodling over drones or vamps.

The scale I'm focusing on first is the Superaugmented natural 3. I'd got the CAGED shapes down, meaning I could find the notes of the scale relative to the underlying augmented arpeggio. This week's task was to join these up and be able to play the scale freely all over the fingerboard in any key.

I've spent a little of my practice time over the last two weeks looking at the Ionian b2 scale and some of its modes. I thought it might be useful to post something here about the approach I've taken so far and how I aim to continue the learning process this week.

I've been experimenting with hypermodes for a while now and thought I'd share both the theory and a practical application here.

A very common question from students is how we can tell which chords as "in key with" a particular scale. This came up today on /r/guitarlessons so I thought it might be worth a quick post.

I've been practicing quartal voicings today and ended up knocking together a little tool to help me do so. It's a kind of "modal metronome" and I thought it might be worth sharing here.

Just wanted to pass on a quick recommendation of jazztrumpetlicks.com, a trumpet site by Greg "Sweets" London. Yes, I know, it's a trumpet site; well, we can learn from players of all instruments, and there are some very cool ideas here in "lick" form.

I've been revisiting some old jazz tunes lately and, yet again, remembered how hard Monk's tune Epistrophy makes you think. In this post I'm going to describe some approaches that try to avoid "running the changes" and instead find scales that "work" over whole sections of the tune.