Join my Jazz Piano emailing list at:

A deleted scene from my last video (exotic dominant 7 scales). In this one I show you the simplest way to play the altered scale with minimal brain work.

4 Types Of Minor Scales

June 19, 2014

JamPlayDotCom·420 videos

Steve Eulberg of JamPlay.Com presents an in depth lesson on Scales and Modes. This lesson is part of a complete series of Music Theory 101 that can be found here at http://www.jamplay.com/youtube1

TedescoCreations·105 videos

My Facebook Page: http://www.facebook.com/pages/Frank-T…

Hey guys! So I thought i’d do something a little different for this improv. I only used the whole tone scale. This scale is made up entirely of whole steps, making for some cool dissonances and chords. Hope you guys like how this came out!

pianomother·118 videos

How to improvise with whole tone scale http://www.pianomother.com
This lesson shows you how to improvise with whole tone notes and scales. It is easier than you think.
In fact my 5-6 years old piano students can improvise after watching this video and mastering this technique. You too can have fun making music using chords and scales.

This video also shows you how you can pick any three black keys and white keys on the piano and start making music.

To learn more about our piano lessons and courses, please visit http://www.yokewong.net

Altered Scale Explained

March 18, 2014

jazztutorial·76 videos


Jake Hertzog·51 videos

Hey Jazz Guy lectures on the concept of Harmonic Continuity, as seen in Guitar Player Magazine.

How to play one ‘sound’ on any chord, with the examples taken from melodic minor. A difficult concept, but HJG shows you how!


creativeguitarstudio·395 videos



Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: I am a new subscriber and your lessons are helping me a lot… I cannot thank you enough!

My question is, Can you please cover the Harmonic Minor Scale. I keep hearing about how it is so widely used but after playing it, I cannot seem to get it to sound good over anything. I mostly would like to know where and when I am supposed to be using it. My favorite style of music is the contemporary jazz style. I purchased your album off of your web site and I’m sure that I hear you use it in your music. By the way I love your album. Hope you make another one soon.

Zack Paris, France

Matt Otto·82 videos

Link to Blog post:http://mattotto.org/lesson-71-e-modal…
Sometimes I find it helpful to spend time working on the modes and 7 main chords in just one key. This helps to strengthen my understanding and visualization of those keys that I end up playing less often.

This lesson outlines an easy melody played through all the modes of concert E major. The chords and related modes are:

Emaj7 (ionian mode)Emaj 2nd inversion

F#-7 (dorian mode)

G#-7 (phrygian mode)

Amaj7 (lydian mode)

B9 (mixolydian mode)

C#-7 (aeolian mode)

D#-7b5 (locrain mode)

The melody is a common embellishment of a 2nd inversion triad (5, 1, 3). The embellishment uses upper and lower neighbor tones from the key of concert E. The number analysis of the melody is 5, 11, 3, 7, 9, 1.

That same melodic shape is then played ascending through the 7 chords of concert E major giving you many of the specific modal alterations on each chord (i.e. b9 on G# phrygian, #11 on Amaj lydian, natural 11 on B7 mixolydian, b9 on D#-7b5 locrian). Chord based modal melodies like these really help the ear and mind to grasp the melodic specificity of the different modes and how they work together to create an overall key centered, diatonic sound.

In the video demonstration I play the melody at 2 different tempos (80 and 120bpm) in both quarter notes and eight notes. Also, the exercise is played over a concert E pedal for context. To really get the independent sound of each mode, you may want to play each of the one bar melodies over the appropriate root of it’s related chord (i.e. play the phrygian melody over a concert G# pedal, the lydain melody over the concert A pedal).


Rowan J Parker·203 videos

JamPlayDotCom·393 videos

http://www.nextlevelguitar.com/free_b… Click link to get a killer brand new Blues lesson not on YouTube and a Blues scales and lead guitar Ebook, all for free from NextLevelGuitar.com

In this video we teach cool rhythmic ideas you can do by using exotic scales like the Phrygian Dominent or Spanish Gypsy mode. Get creative with them and try with different scales and modes.

Many more full on video lessons at the full on video instructional website at:

creativeguitarstudio·381 videos


Makiko Hirata·15 videos

Diatonic music uses only the notes available within the scale, and chromaticism uses notes outside of the members of a key’s scale. The stem of the word, Chromaticism, comes from Greek and it means intensity or shade of colors. Adding chromaticism to a diatonic music is to introduce colors into an otherwise plain music.

The example used in this episode is:
– Twinkle, Twinkle Little Star
-The theme and the first variation from ‘Ah, vous dirai-je maman’ Variations K.265/300e (1782) by Mozart (1756-91)

“Poco Piano” is a series of introductory talks and demonstrations about classical music by pianist, Makiko Hirata. For more information on Makiko and her CDs please go to:

The project was made possible with the help and support of many wonderful artists and friends, including Mark Rodrieg (sound recording), Francis X. Schmidt (sound mixing) and all of the staff at the Digital Media Center at Rice University, especially Nadalia Y. Liu.

KeithWhalen11·132 videos

Herein lies a few examples of Heptatonic and Bitonal arpeggios from Nicolas Slonimsky’s “Thesaurus of Scales and Melodic Patterns”.

Heptatonic arpeggios are executed by playing the 1st, 3rd, 5th and 7th degrees of a respective diatonic scale and then followed by the 2nd, 4th and 6th tones in sequence. The 2, 4 and 6 tones are played above the first octave, which is why I regard Heptatonic arpeggios as a split-type arpeggio to facilitate the understanding and mapping on the fretboard. Considering this, we see that all 7 tones in the scale are played before repeating the tonic, which will only occur two octaves higher after the sixth and final tone of the scale in question has been arpeggiated. This type of arpeggio can be seen used in Busoni’s ‘Fantasia Contrappuntistica’ and can be applied to just about any diatonic scale or mode.

The second examples covered here are the Bitonal arpeggios, which are far more transparent theoretically but are physically daunting. However, looking beyond the issue of physical complexity, Bitonal arpeggios may also prove to be a successful ear-training exercise, seeing as they force you to listen for two distinct triads and how they may compliment or disagree with each other. If you can pick them apart and separate them you have a hell of an ear! Slonimsky’s ‘Thesaurus’ uses the key of C major for all initial triads, so all of the arpeggios will commence with the C, E, G triad we are all too familiar with. Interestingly, he cycles through all the 23 other major and minor keys in conjunction with the key of C. The cycling of keys is interesting not only because of the juxtapositions with C major but the increasing variance of fingerings needed to find other closely positioned triads on the fretboard.

0:000:23 = Locrian Heptatonic Arpeggio Ex: 1089
0:240:44 = Phrygian Heptatonic Arpeggio Ex: 1090
0:451:07 = Aeolian Heptatonic Arpeggio Ex: 1094
1:081:19 = Heptatonic Arpeggio Ex: 1096

1:201:31 = Bitonal Arpeggio Cmaj + Cmin
1:321:43 = Bitonal Arpeggio Cmaj + Dbmaj
1:441:55 = Bitonal Arpeggio Cmaj + C#min
1:562:06 = Bitonal Arpeggio Cmaj + Dmaj
2:072:17 = Bitonal Arpeggio Cmaj + Dmin
2:182:29 = Bitonal Arpeggio Cmaj + Ebmaj
2:302:40 = Bitonal Arpeggio Cmaj + Ebmin
2:412:52 = Bitonal Arpeggio Cmaj + Emaj
2:533:02 = Bitonal Arpeggio Cmaj + Emin
3:033:13 = Bitonal Arpeggio Cmaj + Fmaj
3:143:26 = Bitonal Arpeggio Cmaj + Fmin
3:273:39 = Bitonal Arpeggio Cmaj + F#maj
3:403:50 = Bitonal Arpeggio Cmaj + F#min
3:514:02 = Bitonal Arpeggio Cmaj + Gmaj
4:034:14 = Bitonal Arpeggio Cmaj + Gmin
4:154:24 = Bitonal Arpeggio Cmaj + Abmaj
4:254:37 = Bitonal Arpeggio Cmaj + Abmin
4:384:48 = Bitonal Arpeggio Cmaj + Amaj
4:494:59 = Bitonal Arpeggio Cmaj + Amin
5:005:12 = Bitonal Arpeggio Cmaj + Bbmaj
5:135:26 = Bitonal Arpeggio Cmaj + Bbmin
5:275:40 = Bitonal Arpeggio Cmaj + Bmaj
5:40 – End = Bitonal Arpeggio Cmaj + Bmin

TrueFireTV·2,869 videos

FULL COURSE, TAB, JAM TRACKS: http://bit.ly/MelodicPatterns

More guitar lessons: http://bit.ly/TrueFire

Theoretically speaking, a melodic pattern is an intervallic and rhythmic repetition of notes, which you usually sequence through a scale or arpeggio. Technically speaking, melodic patterns are generally studied to build dexterity, and are especially useful for getting your picking and fretting hands in synch. Creatively speaking, melodic patterns are the building blocks of improvisation and composition. This new intensive from Brad Carlton, covers all three bases.

TrueFireTV·2,869 videos



creativeguitarstudio·371 videos


Hundred’s of FREE lesson Handout PDF’s & MP3 Jams.
This Video: July 19th, 2013 | Search Videos by Title/Date.

*Lesson Download will be made available on: July 21, 2013

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: I have been studying Minor Scales lately, but I seem to keep coming across different Minor Scale types. It’s getting a little overwhelming. Could you please consider doing a lesson that uses the most popular of Minor Scales, explains the unique notes of each one, and can you also demonstrate a melody using each scale type? Thank you!
Amanda — Hellertown, PA, USA

A: Scales are of course extremely important to all musicians and when we shift our focus from the basic major scale, which has the one primary form, and we begin entering the many forms and modes of the world of Minor Scales, I can certainly understand why this topic will so often cause some confusion. Now, before we go off on all of the Minor Scale names & differences, it’s really important to take a step back and realize that all scales – are simply a collection of notes that in the long run we absolutely must get programmed into our ears so that we can eventually control them in a useful and in a highly musical way. So, let’s begin by running through a quick theory breakdown of what really makes up the colors of Minor Scales to begin with!

creativeguitarstudio·371 videos


Search Andrew Wasson.com for FREE lesson Handouts.
This Video: March 22, 2011 | Search Videos by Title/Date.
GO TO: http://www.andrewwasson.com/

Andrew Wasson of Creative Guitar Studio answers a viewers question…

Q: Hi Andrew, I am a mathematician getting hooked on music and guitar, and your videos have helped me greatly! In researching music, my latest studies have had me analyzing scales and chords. One thing I’ve noticed is that scale tones, (or degrees as they’re called in the theory books), are simply numbers and the various ordering of these numbers creates melody. If I create a set of numbers such as; 6, 3, 5, 7, 3 and adapt them to the fingerboard with any number of variations of rhythm — I instantly have a melodic statement. But, how can I take this idea further? Any ideas regarding the expansion of this concept would be very much appreciated. Thank you for all of your guitar lessons.
– Luis, Cambridge, MA.

A: The numeric melody combinations approach is a fantastic way to come up with interesting melodic ideas. The trick to developing this approach is adding embellishments and making variations to rhythms. The interesting thing is that any number is actually a melody waiting to be discovered.

The complete lesson article for this video will be available on the Creative Guitar Studio website shortly. Follow me on Twitter for lesson posting announcements:

The NEW Zazzle Products page:

Andrew’s Official Q & A Guitar Blog Website:
(the weekly Podcast is posted here)

Andrew’s “Video GuitarBlog” YouTube Channel: