Chords for Sco altered scale
Tempo:
139 bpm
Chords used:
C
Eb
Ab
Cm
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The sixth degree is the Locrian natural 2.
It works over C minor 7 flat 5 too.
And this is great because it has the natural 9.
And the regular Locrian scale has a flat 9,
which is sort of an avoid note.
You can't really lay on it too much.
I'll just play the Locrian [C] natural 2 first.
[D] [Eb] [F] [Gb]
[Ab] [Cm] [D] That's the natural 9 [C] over minor 7 flat 5.
Good.
See, the regular Locrian has that flat 2,
which really has a tendency to resolve.
But the natural 2 [Eb] sounds [Bb] great.
It's a tension that just lays there.
Okay, the seventh degree of the melodic minor scale
gives us the altered scale,
which is a wonderful scale that really starts
getting into the altered sound of the dominant 7th chord.
And, you know, the way we're doing it now,
just taking one scale at a time,
you don't really see how they relate, you know,
going from one chord to another.
But we'll get to that in a minute.
Okay, the altered scale, C7 sharp 9.
[Cm]
[Eb] [E] [Ab] [Cm]
[C] [Ab]
[C]
[Eb] [Ebm] [Ab]
[E] [C] [Eb]
[Ebm] Okay,
[Cm] so now we've gone through 14 of these scales.
We'll keep going.
The symmetrical diminished scale.
[B] Now, this is sort of the stepping stone to chromaticism
and in jazz today, you hear all these chromatic lines
that are not really scale.
And a lot of that's coming from the diminished scale.
Once again, this works over an altered dominant chord
and only with natural 13 as one of the tensions.
And
It works over C minor 7 flat 5 too.
And this is great because it has the natural 9.
And the regular Locrian scale has a flat 9,
which is sort of an avoid note.
You can't really lay on it too much.
I'll just play the Locrian [C] natural 2 first.
[D] [Eb] [F] [Gb]
[Ab] [Cm] [D] That's the natural 9 [C] over minor 7 flat 5.
Good.
See, the regular Locrian has that flat 2,
which really has a tendency to resolve.
But the natural 2 [Eb] sounds [Bb] great.
It's a tension that just lays there.
Okay, the seventh degree of the melodic minor scale
gives us the altered scale,
which is a wonderful scale that really starts
getting into the altered sound of the dominant 7th chord.
And, you know, the way we're doing it now,
just taking one scale at a time,
you don't really see how they relate, you know,
going from one chord to another.
But we'll get to that in a minute.
Okay, the altered scale, C7 sharp 9.
[Cm]
[Eb] [E] [Ab] [Cm]
[C] [Ab]
[C]
[Eb] [Ebm] [Ab]
[E] [C] [Eb]
[Ebm] Okay,
[Cm] so now we've gone through 14 of these scales.
We'll keep going.
The symmetrical diminished scale.
[B] Now, this is sort of the stepping stone to chromaticism
and in jazz today, you hear all these chromatic lines
that are not really scale.
And a lot of that's coming from the diminished scale.
Once again, this works over an altered dominant chord
and only with natural 13 as one of the tensions.
And
Key:
C
Eb
Ab
Cm
D
C
Eb
Ab
The sixth degree is the Locrian natural 2. _
_ _ It works over C minor 7 flat 5 too.
And this is great because it has the natural 9.
And the regular Locrian scale has a flat 9,
which is sort of an avoid note.
You can't really lay on it too much.
I'll just play the Locrian [C] natural 2 first.
_ _ [D] _ [Eb] _ [F] _ [Gb] _
[Ab] _ [Cm] _ _ [D] _ That's the natural 9 [C] over minor 7 flat 5.
Good. _ _ _
See, the regular Locrian has _ _ _ _ _ _ _ _ that flat 2,
_ _ _ _ which really has a tendency to resolve.
But the natural _ _ _ _ 2_ [Eb] _ _ _ sounds [Bb] great.
It's a tension that just lays there.
Okay, the seventh degree of the melodic minor scale
gives us the altered scale,
which is a wonderful scale that really starts
getting into _ the altered sound of the dominant 7th chord.
And, you know, the way we're doing it now,
just taking one scale at a time,
you don't really see how they relate, you know,
going from one chord to another.
But we'll get to that in a minute.
Okay, the altered scale, _ C7 sharp 9.
[Cm] _ _ _ _ _
[Eb] _ _ [E] _ [Ab] _ _ [Cm] _ _ _
[C] _ _ _ _ [Ab] _ _ _ _
_ [C] _ _ _ _ _ _ _
_ _ _ [Eb] _ _ [Ebm] _ [Ab] _ _
_ _ [E] _ _ _ [C] _ _ [Eb] _
_ _ _ [Ebm] Okay, _ _ _
[Cm] _ _ _ _ _ _ so now we've gone through 14 of these scales.
We'll keep going.
The symmetrical diminished scale.
[B] _ Now, this is sort of the stepping stone to chromaticism
_ _ and in jazz today, you hear all these chromatic lines
that are not really scale. _
And a lot of that's coming from the diminished scale.
Once again, this works over an altered dominant chord
_ and only with natural 13 as one of the tensions.
And _
_ _ It works over C minor 7 flat 5 too.
And this is great because it has the natural 9.
And the regular Locrian scale has a flat 9,
which is sort of an avoid note.
You can't really lay on it too much.
I'll just play the Locrian [C] natural 2 first.
_ _ [D] _ [Eb] _ [F] _ [Gb] _
[Ab] _ [Cm] _ _ [D] _ That's the natural 9 [C] over minor 7 flat 5.
Good. _ _ _
See, the regular Locrian has _ _ _ _ _ _ _ _ that flat 2,
_ _ _ _ which really has a tendency to resolve.
But the natural _ _ _ _ 2_ [Eb] _ _ _ sounds [Bb] great.
It's a tension that just lays there.
Okay, the seventh degree of the melodic minor scale
gives us the altered scale,
which is a wonderful scale that really starts
getting into _ the altered sound of the dominant 7th chord.
And, you know, the way we're doing it now,
just taking one scale at a time,
you don't really see how they relate, you know,
going from one chord to another.
But we'll get to that in a minute.
Okay, the altered scale, _ C7 sharp 9.
[Cm] _ _ _ _ _
[Eb] _ _ [E] _ [Ab] _ _ [Cm] _ _ _
[C] _ _ _ _ [Ab] _ _ _ _
_ [C] _ _ _ _ _ _ _
_ _ _ [Eb] _ _ [Ebm] _ [Ab] _ _
_ _ [E] _ _ _ [C] _ _ [Eb] _
_ _ _ [Ebm] Okay, _ _ _
[Cm] _ _ _ _ _ _ so now we've gone through 14 of these scales.
We'll keep going.
The symmetrical diminished scale.
[B] _ Now, this is sort of the stepping stone to chromaticism
_ _ and in jazz today, you hear all these chromatic lines
that are not really scale. _
And a lot of that's coming from the diminished scale.
Once again, this works over an altered dominant chord
_ and only with natural 13 as one of the tensions.
And _