Altered Sounds

In TAB and standard notation, 25 pages of written material Western music is based on the idea of harmonic cadence, tension and release. It's easy to balance tension and release once the principles are clearly understood. This in-depth masterclass will have you playing those spicy sounds you hear on recordings by your favorite jazz guitar artists. Through close examination of the principles and theory necessary to master these sounds including organizing them on the fingerboard, you'll find it easy to improvise great sounding altered lines. A thorough understanding of altered dominants requires knowledge of raised and lowered fifths and ninths, b5, #5, b9 and #9 from all roots. We'll use landmarks on the guitar's fingerboard by way of chord forms and root locations to quickly find all of the altered tones. Additionally there are simple shortcuts to group these 4 tones together using scales such as the minor pentatonic scales you already know, the dorian mode, super locrian (melodic minor mode) and more. Many examples leave room for you to weave your own line into a written line. We'll use triad pairs, a special mixolydian pentatonic scale, bebop scales, harmonic major and harmonic minor scales, altered chord fragments/arpeggios, altered chord shapes, diminished sounds and the alignment of scales to make important harmonic connections on the strong beats. The section on sequential playing makes the altered lines simple to derive by moving the scales you are comfortable with up and down the fingerboard using repetition and structure to your advantage. This class starts simply and covers a lot of ground making it useful for all levels, beginning to advanced jazz guitar players.