This is my practice routine for getting altered dominant (#5, #9 chords specifically) rootless closed-voicing chords, and diminished whole-tone scales (sometimes referred to as the 7th mode of the melodic minor scale) under my fingers and in my brain. You can get such a hip sound in your playing if you understand how these notes function in each key.
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This is what I think about scales. What are they good for? When should you use them? Which ones should you use? My philosophy about these questions and how I teach my students to learn and use scales. See also How to practice major scales.
The bebop scale is a descending major scale, with a flatted seventh added that is typically used over a dominant or V7 chord when improvising. Let's make sure we know how to finger it.
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Are you tired of using your same old blues improv ideas? Take your ideas to the next level by adding a lick taken from the diminished scale to your playing.
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The key to understanding music theory, lies behind your knowledge of the 12 major scales. Learn fingerings, practice methods, and little tricks to help you remember the notes as I walk you through the scales, as I learned them. A guide on how to practice major scales. By Aimee Nolte.
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Do you ever wonder if you should write an F# or a Gb? Well, let's take care of that RIGHT NOW. Hang out with me and let's talk about how to spell scales and chords. There might not be a more fun way to spend 20 minutes.
From my vacation spot in Watsonville, CA where we have a fun little lesson about how to sing the dominant chords on the bridge of Rhythm Changes, using the bebop scale.
On Coltrane's Untitled 11383 from the Both Directions At Once album, McCoy Tyner takes an epic solo that employs a technique I like to call "Anticipatory Pentatonics." Dive deep into my transcription and learn what makes McCoy Tyner one of the greatest pianist that has ever lived. Buy the album "Both Direction at Once - The Lost Album" here: https://amzn.to/2BvafW2
Make sure to watch Part 1 about McCoy Tyner And Anticipatory Pentatonics before watching this video which analyzes the quartal harmony and complexities that make up "that Tyner sound."
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A very very easy way of looking at the modes of the major scale. What are they? How do you play them and use them and transpose them? I do my best to answer all of these questions and a few more.