Chords for HOW TO IMPROVISE ON ALTERED CHORDS - JAZZ GUITAR LESSON
Tempo:
123 bpm
Chords used:
D
E
Ab
C
Fm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Okay, so a couple of very cool arpeggiated ideas for the altered chord.
So we're gonna play again on the Bm7b5 chord, [B]
E7 [E] altered, A minor.
[A]
[Am] [Dm] [D]
[C] So you can [Ab] use these ideas that I'm going to show you on any of [D] those chords, even though
they are altered, but as I've said many times before, you're just creating tension towards
resolving to one.
So a couple of ideas for the altered chord, arpeggiated ideas this time.
Playing on E altered, [G] and the common thing to do is to play [D] the altered scale, and altered
scales sometimes we think of as melodic minor from one half step above the root.
So in this case, E altered, F melodic minor.
The chord for F melodic minor would [E] be [F] F minor major 7.
[Ab] So that's what we're gonna work with, [Gb] but we're not [E] gonna just play it up like that,
we're gonna do something to it, and this is what it would do.
So it's like this, F minor, we're starting on the E, [Ab] right?
That's leading us [F] nicely up to the F.
[Fm] [Bm]
So this first is [Gbm] F minor [Fm] 6, [D] which is very similar to F [E] minor major 7.
[Ab]
[Fm] [B] That's just F minor major 7.
[E] Okay?
[Db] [B]
[C] [E] [B]
Very nice idea.
Second [Fm] idea is like this.
[C] [D] [E] So what's that?
[D] If you look at this shape here, that we just did, you'll see that it's very similar to
D minor 7 flat 5.
So that's another chord within the altered scale here.
[Dm] [Bb] And one more thing, if you think of a dominant chord, if you play an arpeggio from the major
third of a dominant chord, you'll get a minor 7 flat 5.
So if we do that in reverse and think, okay, now we're playing D minor 7 flat 5, go down
a major third and play the dominant chord, we have B flat 7.
[Ab] So we're going to make a nice figure here with those two arpeggios.
First D minor 7 flat 5 with [Gm] the chromatic passing note, B flat 7 [Bb] with the chromatic
[G] passing note and also the 13 on the top, if you're interested in [Bb] that.
[Ab] [Ab]
[D] Then this [E] is, let's call it, we can either call it F minor major 7 or we can call it
D minor 7 flat 5 with a natural [Fm] 9.
[D] [Gb] So it sounds like this.
[D] [E] [C]
[D] So put [E] together.
[D]
[Am] [D] [E] I haven't written any specific timing.
[C] It's nice to play maybe triplet
[Gbm] or [Ab] whatever, make it up.
It's a nice figure either [Db] way.
[Ab]
[D] And that's it.
So we're gonna play again on the Bm7b5 chord, [B]
E7 [E] altered, A minor.
[A]
[Am] [Dm] [D]
[C] So you can [Ab] use these ideas that I'm going to show you on any of [D] those chords, even though
they are altered, but as I've said many times before, you're just creating tension towards
resolving to one.
So a couple of ideas for the altered chord, arpeggiated ideas this time.
Playing on E altered, [G] and the common thing to do is to play [D] the altered scale, and altered
scales sometimes we think of as melodic minor from one half step above the root.
So in this case, E altered, F melodic minor.
The chord for F melodic minor would [E] be [F] F minor major 7.
[Ab] So that's what we're gonna work with, [Gb] but we're not [E] gonna just play it up like that,
we're gonna do something to it, and this is what it would do.
So it's like this, F minor, we're starting on the E, [Ab] right?
That's leading us [F] nicely up to the F.
[Fm] [Bm]
So this first is [Gbm] F minor [Fm] 6, [D] which is very similar to F [E] minor major 7.
[Ab]
[Fm] [B] That's just F minor major 7.
[E] Okay?
[Db] [B]
[C] [E] [B]
Very nice idea.
Second [Fm] idea is like this.
[C] [D] [E] So what's that?
[D] If you look at this shape here, that we just did, you'll see that it's very similar to
D minor 7 flat 5.
So that's another chord within the altered scale here.
[Dm] [Bb] And one more thing, if you think of a dominant chord, if you play an arpeggio from the major
third of a dominant chord, you'll get a minor 7 flat 5.
So if we do that in reverse and think, okay, now we're playing D minor 7 flat 5, go down
a major third and play the dominant chord, we have B flat 7.
[Ab] So we're going to make a nice figure here with those two arpeggios.
First D minor 7 flat 5 with [Gm] the chromatic passing note, B flat 7 [Bb] with the chromatic
[G] passing note and also the 13 on the top, if you're interested in [Bb] that.
[Ab] [Ab]
[D] Then this [E] is, let's call it, we can either call it F minor major 7 or we can call it
D minor 7 flat 5 with a natural [Fm] 9.
[D] [Gb] So it sounds like this.
[D] [E] [C]
[D] So put [E] together.
[D]
[Am] [D] [E] I haven't written any specific timing.
[C] It's nice to play maybe triplet
[Gbm] or [Ab] whatever, make it up.
It's a nice figure either [Db] way.
[Ab]
[D] And that's it.
Key:
D
E
Ab
C
Fm
D
E
Ab
Okay, so a couple of very cool arpeggiated ideas for the altered chord.
So we're gonna play again on the _ _ Bm7b5 chord, _ _ _ [B] _ _
E7 [E] altered, _ _ A minor.
[A] _
_ [Am] _ _ [Dm] _ _ _ [D] _ _
[C] _ So you can [Ab] use these ideas that I'm going to show you on any of [D] those chords, even though
they are altered, but as I've said many times before, you're just creating tension towards
resolving to one.
So a couple of ideas for the altered chord, arpeggiated ideas this time.
_ _ Playing on E altered, _ _ [G] and the common thing to do is to play [D] the altered scale, and altered
scales sometimes we think of as melodic minor from one half step above the root.
So in this case, E altered, F melodic minor.
The chord for F melodic minor would [E] be _ _ [F] F minor major 7.
[Ab] _ _ So that's what we're gonna work with, [Gb] but we're not [E] gonna just _ _ play it up like that,
we're gonna do something to it, and this is what it would do. _ _
_ _ _ _ _ _ _ _
So it's like this, F minor, we're starting on the E, [Ab] right?
That's leading us [F] nicely up to the F.
[Fm] _ _ [Bm]
So this first is [Gbm] F minor [Fm] 6, [D] which is very similar to F [E] minor major 7.
_ [Ab] _
_ _ [Fm] _ _ _ [B] _ That's just F minor major 7.
[E] _ Okay? _ _
[Db] _ _ [B] _ _ _ _ _ _
[C] _ _ _ [E] _ _ [B] _ _
Very nice idea.
Second [Fm] idea is like this. _ _
[C] _ _ _ [D] _ _ [E] So what's that?
[D] _ _ If you look at this shape here, _ that we just did, you'll see that it's very similar to
D minor 7 flat 5.
So _ that's another chord within the altered scale here.
_ [Dm] _ [Bb] And one more thing, if you think of a dominant chord, if you play an arpeggio from the major
third of a dominant chord, you'll get a minor 7 flat 5.
So if we do that in reverse and think, okay, now we're playing D minor 7 flat 5, go down
a major third and play the dominant chord, we have B flat 7.
_ [Ab] So we're going to make a nice figure here with those two arpeggios.
First D minor 7 flat 5 _ _ with [Gm] the chromatic passing note, B flat 7 _ [Bb] with the chromatic
[G] passing note and also the 13 on the top, if you're interested in [Bb] that.
[Ab] _ _ _ [Ab] _
_ _ [D] Then this [E] is, let's call it, _ we can either call it F minor major 7 or we can call it
D minor 7 flat 5 with a natural [Fm] 9.
_ _ [D] _ [Gb] So it sounds like this.
[D] _ _ _ [E] _ _ [C] _ _ _
[D] So put [E] together.
[D] _ _ _ _
_ [Am] _ _ [D] _ _ [E] I haven't written any specific timing.
[C] It's nice to play maybe triplet _
_ [Gbm] _ or [Ab] whatever, make it up.
It's a nice figure either [Db] way.
_ [Ab] _ _ _
_ [D] _ _ _ And that's it.
So we're gonna play again on the _ _ Bm7b5 chord, _ _ _ [B] _ _
E7 [E] altered, _ _ A minor.
[A] _
_ [Am] _ _ [Dm] _ _ _ [D] _ _
[C] _ So you can [Ab] use these ideas that I'm going to show you on any of [D] those chords, even though
they are altered, but as I've said many times before, you're just creating tension towards
resolving to one.
So a couple of ideas for the altered chord, arpeggiated ideas this time.
_ _ Playing on E altered, _ _ [G] and the common thing to do is to play [D] the altered scale, and altered
scales sometimes we think of as melodic minor from one half step above the root.
So in this case, E altered, F melodic minor.
The chord for F melodic minor would [E] be _ _ [F] F minor major 7.
[Ab] _ _ So that's what we're gonna work with, [Gb] but we're not [E] gonna just _ _ play it up like that,
we're gonna do something to it, and this is what it would do. _ _
_ _ _ _ _ _ _ _
So it's like this, F minor, we're starting on the E, [Ab] right?
That's leading us [F] nicely up to the F.
[Fm] _ _ [Bm]
So this first is [Gbm] F minor [Fm] 6, [D] which is very similar to F [E] minor major 7.
_ [Ab] _
_ _ [Fm] _ _ _ [B] _ That's just F minor major 7.
[E] _ Okay? _ _
[Db] _ _ [B] _ _ _ _ _ _
[C] _ _ _ [E] _ _ [B] _ _
Very nice idea.
Second [Fm] idea is like this. _ _
[C] _ _ _ [D] _ _ [E] So what's that?
[D] _ _ If you look at this shape here, _ that we just did, you'll see that it's very similar to
D minor 7 flat 5.
So _ that's another chord within the altered scale here.
_ [Dm] _ [Bb] And one more thing, if you think of a dominant chord, if you play an arpeggio from the major
third of a dominant chord, you'll get a minor 7 flat 5.
So if we do that in reverse and think, okay, now we're playing D minor 7 flat 5, go down
a major third and play the dominant chord, we have B flat 7.
_ [Ab] So we're going to make a nice figure here with those two arpeggios.
First D minor 7 flat 5 _ _ with [Gm] the chromatic passing note, B flat 7 _ [Bb] with the chromatic
[G] passing note and also the 13 on the top, if you're interested in [Bb] that.
[Ab] _ _ _ [Ab] _
_ _ [D] Then this [E] is, let's call it, _ we can either call it F minor major 7 or we can call it
D minor 7 flat 5 with a natural [Fm] 9.
_ _ [D] _ [Gb] So it sounds like this.
[D] _ _ _ [E] _ _ [C] _ _ _
[D] So put [E] together.
[D] _ _ _ _
_ [Am] _ _ [D] _ _ [E] I haven't written any specific timing.
[C] It's nice to play maybe triplet _
_ [Gbm] _ or [Ab] whatever, make it up.
It's a nice figure either [Db] way.
_ [Ab] _ _ _
_ [D] _ _ _ And that's it.