2."Outside" Intervallic Approach to Scales-From Linear Shapes to Intervallic Substitutions-Fusion 🎸

FREE 'Rethinking Jazz Guitar' course: http://bit.ly/RethinkingJazzGuitar In this video I'll be teaching you how to go from a linear scale approach to a more 'outside' intervallic chromatic approach. This lesson will benefit anyone who feels their scales sound a bit naff especially in jazz and fusion contexts. We'll learn an intervallic approach to begin tying all of the chords, shapes and patterns of any given scale together. All of the examples in this video are based on the major scale with some additional chromatic concepts. Using a more intervallic approach improves our knowledge of the function of the scale in tonal contexts and more specifically how the notes of the scale connect to the underlying harmony. This is more relevant to how we actually use scales in improvisation or composition contexts, connecting the melody and harmony together. By taking an intervallic approach we can cover some of the most common chord movement vocabulary used in contemporary, tonal compositions. This gives us loads of melodic vocabulary for improvisation when we inevitably encounter these exact changes or changes like them. The simple intervallic approach we're going to be learning is built on arpeggios and chromatic substitutions. We will use a 4,7,3,6,2,5,1 progression as all 4 common chord types, the Major 7, Dominant 7, Minor 7, and Minor 7b5 are all included. The 4,7,3,6,2,5,1 progression follows the magnetic pull of music which we know as the cycle of fifths. Although the cycle of 4ths or 5ths is by no means the only way that diatonic harmony can function it is certainly one of the most common movements seen in contemporary music. By focusing on smooth voice leading between the chords of a scale, we're also learning how the scale's shapes and arpeggios lead nicely into one another. Then we'll apply a tritone substitution to every other chord. A tritone substitution means that any chord type can be replaced by the same chord type three tones, or a diminished 5th, away. Finally we'll touch upon a concept Barry Harris calls 'The Family of Four'. If the tritone substitution sounded good then we can also try substituting the original chord with the same chord type a minor 3rd up or a minor 3rd down. Because the progression follows the cycle of 4ths, which means it has a very strong logic behind it, and we voice led our lines well, the listener is willing to accept the function of the substituted harmony. Good luck with it! 📚If you would like to buy my Legato eBook: https://bit.ly/35aNaX0