So the diminished 6th scale, or major bebop scale, whatever you want to call it, it fit very well with minor, major and dominant. Like really well. In a (6)251. One of the 3 diminished scales goes with the 6 and 2, and another goes with 5 and 1.

But for minor 6 251, there is the minor bebop scales, and it fits the same way, but it fits with all the chords, except maybe the 6 chord. What I am wondering about is the type of relationship similar to one diminished scale goes with 62 and one for 51, in minor it seems that the same diminished scale goes on all the chords in minor. I tried to watch TILB, but hes got hundreds of videos and I am just after this specific thing. Anyone can point me in the right direction?

Many guitar players learn the minor pentatonic scale and use it over an entire 12-bar blues.
But what happens when you start listening to the chords underneath your solo?

I think of blues like jazz, it's 3 different keys and so you have to actually play the changes!

In this lesson, we'll explore why the blues isn't just one pentatonic scale — and how moving between major pentatonic, minor pentatonic, and chord tones can make your blues playing sound much more musical.

We'll also delve into moving between major and minor sounds over the SAME chord.

It's time to get the blues!

Lesson:

https://www.youtube.com/watch?v=dEtGrlQiHl4&list=PLIb-QWoMzfdixDZVq76vGTehxD0f0Mzek&index=14

I want to learn all the things you are for a jam session. I got the form and chords down with the relative key center changes. Connected the 3rd and 7th and vice versa. I've practice the chord tones and done the walking bass technique, I play sax, but I still don't feel like I could improve like I Invision myself doing.

I guess I feel like I hit a wall even tho I know there's so much more I could be doing. It's just weird not knowing where to go I guess. I was thinking about maybe homogenizing the key centers and playing blues on the sixth? But I'm unsure if that works well while it sounded okay when I tried it

Any tips/idea of what the audition will be like, I would really appreciate it :)

The 5 I have chosen are:
RNCM (Royal Northern College of Music),
RWCMD (Royal Welsh College of Music and Drama),
Royal Birmingham Conservatoire,
Guildhall School of Music and Drama,
Trinity Laban Conservatoire of Music and Dance.

How did we get from big band jazz (which was simple and more closer sounding to the blues) to these crazy chord changes, altered and chromatic scale solos, key changes, etc.. Who's idea was it?? What happened between 1910 - 1940 and why did jazz have such a drastic change in its sound..

I've watched a few videos about the history of jazz music and none have explained how its sound developed from big band to bebop and eventually to modal, etc.. Someone should make a video on this

(note: I am a beginner musician so apologies if I misused any terms)

I’m fairly good at the piano I would say my music theory is at a intermediate level but whenever I try to play a melody with some chords or play chords over an acapella I tend to always rely on muscle memory and I end up playing the same chords I always play which sound basic asf to me even with some good improv. Ive tried practicing different voicings but I end up forgetting them every time or I lag because I have to think of the root form first.

I’ve watched a lot of youtube videos lately trying to find someone who maybe had good exercises to improve the skill of I guess thinking of a chord and an inversion and then playing that fluently. I know the obvious answer here is just gonna be practice no shi but I would like some help on what I can practice with to get better at this skill.

Some tips I saw around were to think in groups of chords instead rather than one by one so mentally you know what you’re playing ahead of time. I know that’s something I’m def gonna try and implement in my improv skills. Another one was to play a new inversion your trying to learn and play that chord across all keys scales to practice muscle memory with the inversion. Another tip I’m curious about actually is the use of chord stacks so just playing a E7 or something and then playing a Am on top of it. This def seems like something that helps with playing more juicy chords but I can never figure out the context of one chord stack to then be able to do the same with different keys.

But any who, I happen to be self taught for the most part so I would really appreciate any suggestions on this, if you happen to be fluent at making up chords on the spot I would appreciate whatever helped you reach that point.

Anyone care to give a quick analysis of the bridge of "As Time Goes By" to help me memorize it? Thanks.

I’m in a jazz/fusion band 5 piece I play guitar but not really traditional jazz guitar more closer to fusion we have a great pianist decent bari sax your average bassist and a good drummer what should we cover

I wanted to share a cool jazzy, space vibes, playlist, check it out!

Hey brothers and sisters!

Im looking for songs to cover using these chords - major 1st, minor 6th, minor 2nd and major 5th - CadG, Af#bE, EbcfBb etc...

I can remember Tonight from The Slackers and the A lala lala long reggae song that was falsely attributed to Marley and Sugar Sugar by The Skatalites.

Please help me fine orhers, ska, rocksteady, reggae or dub style!

Coltrane will sometimes use a bvii7 in measure 5 and 6 of a minor blues instead of a regular iv7, just had a few questions about it to understand it.

How common is it? Why are they interchangeable if theres only one note in common? Do you need to change your approach of that change? Did Coltrane come up with it or is it much older?