Your thoughts are wandering all over the place .
It is clear that you are Acting impulsive.
You are not talking about anything specific or have any point. I am presenting demonstrable information about how jazz works.
It is specific information every single player learns knows and uses.
I have not talked about myself because the topic is not a person be it me or someone else , it is information .
The way jazz music works itself.
I am only presenting factual things not a type of opinion based content .
I am speaking about what is not what my preferences are.
What I am presenting is the knowledge millions of people learned throughout history it's how tens thousands of jazz standards inner workings are constructed and it's how to understand what to do with the music.
The only way someone could respond the way you made the decision to , is to not even have read through this material because it is demonstrable .
If you have something specific you disagree with why don't we talk about that.
This entire place audiosex.pro
Is not hundreds of artists and acts listing their material and advirtising tv shirts and CDs look around here.
Why would you have these bizzarre expectations for me here and now?
And more importantly what does anything I have made or done or recorded have to do with you a person reading a educational thread about jazz music itself?
This topic of music education is about what the reader does with it
I can write and record 25 songs by tomorrow morning and post it here for you , but if you don't understand what Is happening inside the music, what good does it do in this educational thread
here?
You say " talk the talk and walk the walk"
You are just some person showing up to a music education thread whining and crying .
What kind of " walk the walk" is that?
Meanwhile I am demonstrating music knowledge.
How music itself works.
I am not just showing up somewhere saying nothing particular like you .
I am explaining in a testable way how music exists as. Given we are in a music educational thread.
I'm not talking the talk ( like you)
I am walking the walk.
You said words in a comment box, however what portion of reality do they accurately connect with?
The portion of reality my words demonstrably connect with is the context of jazz music how it actually works in reality ( so demonstrable that 10s thousands of jazz standards ( songs in case you didn't know) can be reverse engineered and match to every sentence I have spoken.
So if you really want to walk any kind of walk instead of just talking the talk. Say something specific you disagree with about this thread and we can discuss the topic at hand which is the way jazz exists in reality .

I am happy to have a context with you some type of challenge creating music with timestamps whatever you want pick the specifics and we can time stamp showing the process .finish a brand new peice of music and whatever direction you want to go with it.
How's that for walking the walk?
What are you most comfortable with musicwise?
That you are confident enough to have a friendly fun challenge , ( screw something made in the past )

Maybe a time-stamped 3hour window ?
Or do you 2ant a challenge where the music is composed in realtime ?

We both win either way, either you beat me and I learn something about how you kicked my ass ( what was it about your music that demolished mine)
Or the other way around
What criteria would you like to set?

Have to use all 12 notes within 16 bars?
Have to stay in one key?
Have to contain subwoofer car stereo bass?
Have to contain 7 note harmony?

Think it through figure criteria that plays to your strength.

You see it's one thing to spend 6 months writing and recording a song.
What about doing it in realtime?
What about only having 3 hours or so for the entire process?
Start to finish?
What do you think?

 

Last edited: Oct 18, 2019

@krakenfart This conversation has been done before. While you have a point about a real showcase, it is very weak. Tutors do not need to be professional musicians, meaning that they can teach and make a living alright, no need for gigging. But the attitude, man, this is not good imho. I remember in the 70s and 80s, us from small countries, we had to search hard to find books about jazz, real book was almost a myth and those who had enough pages from it were considered privileged. Now, we are given all this and more as pure distilled knowledge and we complain...
Dunno man, what is this world comin' to.
Cheers.

 

This is exactly what I am about what I am doing here.
Giving free knowledge that normally is hard to come by or people don't really know how to find it .
I'm trying to add value to audiosex.
I respond in this educational way to every aspect of music from start to finish .
Whether it's about composing,.writing, improvising, mixing ,tracking, pre production, production , mastering , engineering, artist development, setting up a recording room with acoustic treatment , which equipment on what budget to get , what studio monitors , what microphone, how to mic a drumset, how to mic a guitar cabinet , which vocal excersises etc. Im trying to give information to help people . ( So that the quality of music as a whole gets better in the world and people have a way to get their passion out follow their dream even if their poor)

 

I am absolutely happy with anyone at any time wanting to talk about ant specifics I cover why they think it does not work that way, if that's you please go into it. Let's get back to the way music works as a topic by approaching it that way.
As far as this exact thread I literally mean millions of jazz players have learned what is presented here right now it does not get anymore standard than this there is nothing controversial in this content it is very straight forward . It is devoid of human opinion on purpose .
I don't care what my own opinions are with this topic I care about how jazz itself works .
I remove myself from it , I'm trying to find out how jazz exists as then share it in clearcut way.
I do have threads about my own opinions are
Like for example search for my thread series
" What is real or not?"
That's me as a person from my perspective a very different thing than sharing educational knowledge.

 

In the last hundred years we see lot of fetishising
Recorded sound.
That is one choice made out of millions each moment for each second passing in the song.
Yes a certain amount of that is valuble for sure.
Myself , I put a much larger priority on understanding every possibility in each moment passing .
Rather than fetishising each note choice made in a particular recording .
Every second that passes in a recording each note you hear is literally one choice made out of endless possibilities .
It's one thing people just starting out with music
They feel great just to come up with something at all in a moment of time. That is one level of skill
But think of the level of skill it takes to understand every possible thing that could have been played in that moment.

 

Back to " all that Jazz"

Understanding dim7 chords in the KEY of C major


In all of music we only have 3 dim7 chords .

A#.C#.E..G..
B...D...F...G#
C...D#..F#.A

Each one of them contains 4 dominant chords inside of it.

BDFG#

Bb7 ( A#7
Db7. ( C#7
E7
G7

A#C#EG

A7
C7
Eb7 ( D#7
Gb7 ( F#7



ACD#F#

G#7
B7
D7
F7


Now there are the 3 dim7 as well as the 12 dominant chords inside of them.

Let's look at how all 3 of these dim7 work in the KEY of Cmajor

First is the obvious one Bdim7 BDFG#

It has the dominant of Cmaj G7 GBDF
It has the dominant of Relative Amin E7 EG#BD
It has Tritone sub of G7 , C#7 C#FG#B
It has Tritone sub of E7 , Bb7 BbDFAb

Next we learn about our Subdominant substitution
Called the
#IV dim7
F#ACD#
Inside of it contains
F7
Ab7
B7
D7

We can see the #IV in many progressions
In the KEY of C major
Ex.

F#dim7/ Fmaj7/ Emin7/ Ebdim7/ Dmin7/C#7/Cmaj/

Or

F#dim7/ Fmaj/ Fmin6/ Bb7/ Cmaj

Or

C6/ Cdim7/ C6

Or
Dmin7/ G7/ Cdim7/ Cmaj 6/

That is 2 of our diminished what about the other one?

Edim7

EGA#C#

D#7
F#7
A7
C7


We see by the Dominants inside of it .

D#7 can resolve to Dmin7 ( Tritone of A7
F#7 is V7 of Bmin7b5 the vii chord
A7 is V7 of Dmin7 the ii chord
C7 is V7 of Fmaj7 the IV chord

So A7 to Dmin7 can show up

Cmaj6/ C#dim7/ Dmin7/ G7/ Cmaj

Edim7/ Fmaj7/ Fmin7/ Bb7/ Cmajor

C6/ Dmin7/ C#dim7/ Bmin7b5/ Cmajor

And many more

 

Scales for substitutions in Jazz

Scales in jazz are a small part compared other styles.

You have a scale for each chord

This can be hard to grasp at first but before you know it gets easy .

There are 3 scales you need to know
Major ( and it's modes including minor
Harmonic minor ( and it's modes
Melodic minor ( and it's modes

Here is how they work in the key of C major

1.CEGA C6 CDEF#GABC. C Lydian
2.DFAC. Dmin7 DEFGABCD D Dorian
3.EG#BD E7 ( V7 in Aminor EFG#ABCDE
4.FACE. Fmaj7 ( FGABCDEF
5 GBDF. G7 ( GABC#DEFG G Lydian dominant
6.ACEF# Amin6 ( Imin ABCDEF#G#. A melodic minor
7.BDFA Bmin7b5 ( BC#DEFGAB. B Locrian #9

We can see that there are some differences from what you may be used to .

It's true that you can use the chromatic scale on each chord or the C major reg scale as long as you hit chord tones on strong beats for whatever chord your on .
But I want to gives you more usable scales where the notes in them can be used without avoid notes
For example.

You can play GABCDEFG on G7
As long as you play GBDF on strong beats
And you can play
GG#AA#BCC#DD#EFF#G
On G7 as long as you play GBDF on strong beats.

However the scale I gave you
G7 Lydian dominant GABC#DEFG
Any of them notes can be used on the strong beat


Another example

Cmaj7 chord
CDEFGABC
You really can't play the F in any usable way on strong beat ( advanced players can play anything
However
CDEF#GABC
All them notes are really strong on the beat
Of Cmaj chord ( any tonic chord

 

Let's look now at our substitutions and their scales.
Key of C major

Tonic.
Cmaj 6
Emin7
Amin7

Amin6
F#min7b5

These use C Lydian CDEF#GABC



Dominant
G7
Bmin7b5

Bdim7

C#7
E7

These use G Lydian dominant
GABC#FEFG

B Locrian #2
BC#DEFGAB

E7 V7 of Amin uses A harmonic minor from EFG#ABCDE

C#7
Uses C# Lydian dominant
C#D#FGG#A#BC#

We also get into dominant diminished scale
G7
GG#A#BC#DEFG
G wholetone
GABC#D#FG
Dominant has the most options .



Subdominant substitutions .

#IV dim7
F#dim7 In key of C major

Uses E harmonic minor from F#
F#GABCD#E

IV minor
In key of C major this is
Fminor
Fmin6
Bb7
AbMaj7
Dmin7b5
Dbmaj7

These use F melodic minor scale .

FGAbBbCDEF


The minor Cadence in Cmaj A relative minor

A minor cadence to A

Bmin7b5/ E7/ Amin6/

Bmin7b5 uses B Locrian #2
BC#DEFGAB
E7 uses A harmonic minor
ABCDEFG#A
Amin6 uses A melodic minor
ABCDEF#G#A


Major cadence in C major

Dmin7/ G7/ Cmaj6/

Dmin7 uses D Dorian DEFGABC
G7 uses G Lydian b7
GABC#DEFG
Cmaj 6 uses C Lydian
CDEF#GABC

 

How to construct a chromatic scale for each scale that goes with a chord.

This is a first step of which the next is to create
Enclosures for a chord .
Before we get to enclosures though we have to construct a chromatic scale version of the starting scale .

Example.

Key of c major

Chord is Dmin7
Scale is D Dorian
DEFGABCD

We need create chromatic D Dorian scale .

( Each chord tones must be a strong beat)
Forward direction

DD#EGFF#GG#AA#BDCC#D
D.....E...F.....G.....A.....B..C.....D...

Backwards
DC#CDBA#AG#GF#FGED#D
D.....C...B....A.....G....F....E....D

This is how to construct a chromatic D Dorian scale
So that we have a note in between each note on a week beat

Let's look at how we can use melody in this chromatic D Dorian scale .

Dmin7/ x4

DFACDA#GG#AFDFA

This is a 3 note enclosure around the 5th
DFAC
1357

DFACBGA#G#AFGED

This a 4 note enclousure around the 5th
DFAC
1357

FACEDBC#BDAF...FCAF

A 4 note enclosure a round the 7th
DFAC
1357

 

Let's look at some enclosures in C major
On the tonic chords .
1.Cmaj6 CEGA
3.Emin7 EGBD
6.Amin7 ACEG
1min.Amin6 ACEF#

There is surrounding the 3rd.

( Start on the off beat,{G#FF#G } strong beats are in bold.)
Think long note short note long note short note
123 = 12
So
123123123123
1..21...21..21..2

That gives you a swing rhythm

Next we start with
Cmaj6 CEGA
..............1356

G FDD#E C

Next surrounding the 5th
CEGA
1356

A G#FF#G ECEGE

This are like Lego building blocks.
For example combine the 2
1.enclosure of 3rd
2.enclosure of 5th

CFDD#EDCABG#FF#G E

Here is a triplet of Emin7

CD#EGBCA

Triplet in orange

EACEGBA#AG#GFDD#EDCABG#FF#GFEDC#EGA#AE

 

Last edited: Oct 19, 2019

Let's look at rhythm in a Melody
1....2.....3....4....5....6.....7....8....1....2....3.....4.....5...
123123123123123123123133133123123123123
1...21..21..21..21..21..21..21..21..21..21..21..21..2
C..EG..E....A... EG..EC...C..E...AC..EG. E... A... EG..

This is difficult to write in text please bare with me
But try this take your time go slow at first.

 

Listen to these all the way through

 

ah welcome back MMJ we missed you

 

He's only trying to help people who know very little of jazz theory.
In terms of context, this is a forum with a lot of people who probably know very little of what he is saying. It does not matter whether a publisher would take him on or not. Possibly not in the way it is written inside the limited space of the forum posts, but that is not important.

Perhaps it may not be the best way or the right way but he's not asking for any money. If someone knows it's wrong there is no point in saying so. If it was a published work and it was wrong, you would contact the publisher so it could be corrected, but it is not published other than this forum. That one comes with age because they have no need to prove it is wrong after a certain point, they just know it and walk away. That same person if they see that another person is only trying to help even if it is wrong will say nothing unless it hurts someone.
As for him gigging playing jazz, it's a theory lesson not a how to play it at a gig. He would post a video of himself if that was the situation.
I see why you are annoyed but the thing is, he is not hurting anyone and in fact, he is helping some. The institutions that teach jazz have this site blocked anyway.

EDIT: He is like AS's version of Rick Biato and you do not see any institutions rushing to employ him either, but he also provides a valuable community service. That is perhaps a better way to see it.

 

Last edited by a moderator: Oct 20, 2019

Thanks my friend,

I notice some people have an attitude that to give away this type of knowledge for free is sacreligous.
They believe that the thing that is most important is to be able to afford to go to a prestigious school. Get a price of paper with ink on it certified that you sat in a classroom and nodded your head then repeated back things with more than 65 % accuracy .I don't care about those things in the slightest .
When it comes to jazz I love it for what it is want to understand it so I studied hard in anyway possible then want to share things for people that want to learn it.
It's these propaganda ideas about certain things .
Like you must provide peices of paper with ink on it.
For every aspect of life to prove that you are worthy of survival. Breath, food , life.
But sometimes people forget what is important
Jazz started out a music thought of low class.
The people learned only by sharing things each other , then those players once they got good would take on teaching the next generation .buddy bolden
King Oliver , bunk Johnson , taught people then Louis Armstrong learned from these people.
He then taught the world how to swing with the Advent of recording music and playing it back in living room across the world.
Have we really cone so far as to think jazz should only be taught w ith a tuition fee attached?
That it is sacreligous to help 0rople who are seeking to understand how it works?
At what cost?
That it eventually does out?
I want the music to live and thrive .
It is unique and not many types music especially modern music anywhere near the level of sophistication it has .
I want to see music as a whole category increase in quality .

 

We talked about scales for each chord before
Based on the upper extension of a chord.
There is a quick way to find out a scale for any chord you are on.

You take the 135 of said chord and add it's 7th of that chord type . Then add a wholetone to the 13 and 5
Let's see in ex.

Cmajor key
Cadence to C

Dmin7,G7,Cmaj7

DFAC,GBDF,CEGB
1357..1357..1357

For D chord
DFAC
1357

So 135 is DFA
Wholetones above them notes is
EGB
Put all 7 notes in a row now.
DEFGABC D Dorian.

Next is our G7 GBDF
GBDF
1357

Wholetones above 135 is
AC#E
Put all notes in a row

GABC#DEFG G Lydian dominant

Last is Cmaj7
CEGB
135

DF#A

Put in row

CDEF#GABC C Lydian

We now have the 3 scales for the 3 chords in the cadence of C major.

.....



Let's now look at another type of scale in Jazz.

This scale is for a V7 to I
So 1 scale for 2 chords.

In C major key

GBDF to CEGB
Two things we adjust first
We make the dominant into it's dim7
That's
Bdim7 here
BDFG#
And we change the Cmaj7 CEGB into
C6 CEGA
That's step 1.
Step 2 is combine 8 notes of these 2 chords into 1
Scale

CDEFGG#ABC

Step 3
Write them vertically
C
D
E
F
G
G#
A
B
C

Step 4 by selecting everyother note of the scale
Wrote vertically then create the chords for each note like this

CDEFGG#ABC

CEGA......( C6
DFG#B....(G7
EGAC.......(C6
FG#BD......(G7
GACE........(C6
G#BDF.......(G7
ACEG........(Amin7
BDFG#.......(E7
CEGA.........(C6 or Amin7


You see something special happens with this scale.

We get C major and rel A min V7 to I
Unfolding as the harmony of the scale .
So the scale works melodically and harmonically
V7 to I is our building block progression .

As we travel through the scale
CDEFGG#ABC

We get a chord which perfectly fits each note .
Such that anything you do with the scale
( Any melody you make)
Also has a functional harmony.
This means you can harmonize anything!

This is called a " scale of chords"

It was named by Barry Harris . ( Jazz legend

However as Barry will tell you this existed in jazz music going back to the 1920s and before .


Let's look at some of the implications in the scale of chords .
C6 scale of chords is C6 / Bdim7/
It works as G7 to Cmaj or it works as
E7 to Amin the rel minor in that key.
There are 2 important aspects of these 2 chords.
1.
C6 CEGA = Amin7ACEG
( That a major chord and minor are the same

2.
Bdim7 BDFAb
Equals 4 dominant chords
Bb7 / BbDFAb
Db7/ DbFAbB
E7/ EAbBD
G7/ GBDF

We are using abstracted chord structures

A major chord which is identical with a minor chord

A dim7 chord with is identical with 4 different dominant chords.


Let's see this exact scale of chords applied to other chords in the C major KEY

2.Dmin7 DFAC equals Fmaj6 FACD

So what happens if we make
F6 dim7 scale of chords?
( To go with our iimin7 chord in this KEY of C)

F6 dim7 scale of chords
FGAA#CC#DEF

EGA#C# ( A7 V7 of dim7
FACD.......(Dmin7
GA#C#E..(A7
ACDF........(Dmin7
A#C#EG....(A7 or C7
CDFA.........(Dmin7 or Fmaj6
C#EGA#....(C7
DFAC..........(Fmajor
EGA#C#.....(C7
FACD...........(Fmaj


You see we have the same thing as before.
Fmaj6 and it's V7 secondary dominant
Or Dmin7 and it's secondary dominant .
Either our ii chord in the key with it's V7
Or our IV chord in the key of C with it's
Secondary dominant.
And as before the melody has a full harmony to go with it .

 

Now before showing to you our other scale of chords.
Let's validate the C major KEY non Diatonic
Subdominant/ Tonic /
Progression substitution called the #IV dim7

This progression looks like C6/ F#dim/ C6

How this works is that we start on tonic Diatonic
In our key this means

1.C6
3.Emin7
6.Amin7

We select the 3.Emin7 as our substitution for or Tonic

Next We create it's scale of chords.
Emin7 EGBD = G6 GBDE

D#F#AC......(B7 V7 of Emin7
EGBD............(Emin7
F#ACD#........(B7
GBDE.............(Emin7
ACD#F#.........(B7 or (D7 ,V7 of G6
BDEG..............(Emin7,or G6
CD#F#A..........(D7
DEGB...............(G6
D#F#AC...........(D7
EGBD...............(G6


You see what we have? F#dim7 F#ACD# is
4 dominant7 chords
F7 FACEb
Ab7 AbCEbGb
B7 BD#F#A
D7 DF#AC

Our #IV in the KEY of C major
Can be thought of as V7 of iiimin7 ( which is tonic
So this ends up compared to Cmaj as center
Being a Subdominant function substitute
V7 if G6 , or V7 of Emin7


....


We need to now cover all the variations of the scale of chords .

This means we need to Abstract all types of chords.

1.Major
2.Dominant
3.Minor
4.Min7b5
5.Min6

Our 1st scale of chords has
Maj6 and dim7
The maj6 is also a Min7
C6 CEGA = Amin7ACEG
This means we covered
1.Major
And
2.Minor

Next we need to cover Dominant type of chord.

To understand this.
Let's compare C6 to C7
C6CEGA
C7CEGA#

We can see we simply move that 1 note up a semitone .
This brings us to our 2nd scale of chords
We change just that one note keep the rest the same
C6 dim7 scale of chords is.
CEGA, BDFG#

CDEFGG#ABC

C7 dim7 scale of chords is
CEGA#, BDFG#

CDEFGG#A#BC
Let's
Create the full C7 dim7 scale of chords

BDFG#....( V7 of C7 secondary dominant
CEGA#....( C7 the V7 of Fmajor
DFG#B.....( G7
EGA#C.....(C7
FG#BD......(G7
GA#CE......(C7
G#BDF.......(G7
A#CEG......(C7
BDFG#.......(G7

With 1 tiny modification we now have a scale of chords for the Dominant function.

Let's see G7 dim7 scale of chords for Key of C

GABCDD#FF#G


F#ACD#.....( D7 secondary dominant of G7
GBDF...........(G7 ,V7 of Cmajor
ACD#F#......(D7
BDFG...........(G7
CD#F#A......(D7
DFGB...........(G7
D#F#AC......(D7
FGBD...........(G7
F#ACD#.......(D7
GBDF........... (G7


Our first scale of chords

Maj6 dim7
Covers the major type and minor type
Dom7 dim7
Covers the dominant type ( with it's V7 of V

Next , for the 3rd scale of chords we want to look at
A min6 compared to a minor7b5.

To understand this let's compare
Dmin7 our ii chord.
To Dmin6

Dmin7
DFAC
Dmin6
DFAB

Now
Dmin6
DFAB = Bmin7b5 BDFA

We now see just like
C6 CEGA = Amin7 ACEG

Dmin6 DFAB = Bmin7b5

This means we can go back to the beginning with our first scale of chords again .

C6 dim7

CEGA, BDFG#

Now C6 CEGA= Amin7 ACEG

Amin7 ACEG,. Amin6 ACEF#

So to get our next scale of chords we simply make this one tiny adjustment.

Amin6 Dim7

ACEF#, BDFG#

( Just like before 1 tiny adjustemnt )

ABCDEFF#G#A

Now we will have a scale of chords for every type of chord there is.

ACEF# ...( Amin6 or F#min7b5
BDFG#....( E7,V7ofAmin{orC#7,V7ofF#min7b5
CEF#A.....(Amin6
DFG#B......(E7
EF#AC......(Amin6
FG#BD......(E7 or C#7
F#ACE.......(F#min7b5 or Amin6
G#BDF........(C#7 or E7
ACEF#.........(Amin6

We now have a scale of chords for.
1.Major
2.dominant
3.minor
4.minor7b5
5.min6
6.diminished
7.augmented ( same one for dominant

 

Just like how we looked at abstracting our chord types.
Ex.
Maj6 = Min7 ( C6 CEGA= Amin7 ACEG
Min6= Min7b5 ( Dmin6 DFAB = Bmin7b5 BDFA

BDim7 BDFG#
= Bb7 BbDFAb,
C#7, C#FG#B
E7,. EG#BD
G7, GBDF

We also abstract Scales also.

To understand how let's take a look at our
Previous
G7 dim7 scaleofchords.

GABCDD#FF#G

GBDF......( G7
ACD#F#.. ( D7
BDFG........(G7
CD#F#A....(D7
DFGB..........(G7
D#F#AC......(D7
FGBD...........(G7
F#ACD#......(D7
GBDF............(G7

This gives us a way to create melody with harmony
Any note used has a full chord attached .

Well we already seen how G7 GBDF = Bdim7 G#BDF

What happens then if we take our G7 dim7,
And change that one One?
Basically
Bdim7 dim7


G#ABCDD#FF#G#

G#BDF......(G7,A#7,C#7,E7
ACD#F#.. ( G#7,B7,D7,F7
BDFG#........(G7 ..V7
CD#F#A....(D7...secondary dominant
DFG#B..........(A#7..V7
D#F#AC......(F7..secondary dominant
FG#BD...........(C#7..V7
F#ACD#......(G#7..secondary dominant
G#BDF............(E7
ACD#F#..........(B7..secondary dominant

The name of this scale of chords is called
The diminished scale.
What it gives us is
A secondary dominant resolving to it's dominant
( Like V7 to I except { V7 of V} resolving to V7

However the magical thing about this Diminished scale is that in just this one scale we have the melody and the harmony ( like the other scale of chords )
However it's 4 different secondary Dominants
Resolving to their appropriate V7 chord
Let's take a look

B half whole diminished.

BC DD# FF# G#A B

We have the scale of chords for

Cdim7 CD#F#A
B7, D7, F7, G#7

Bdim7 BDFG#
A#7, C#7, E7, G7

In key of C major or Cmin
D7 is V7 of V G7
D7 resolves to G7

Key of D# or D#min
F7 is V7 of V A#7
F7 resolves to A#7

Key of F#major or F#min
G#7 is V7 of V C#7
G#7 resolves to C7

Key of Amajor or Amin
B7 is V7 of V E7
B7 resolves to E7


All of this is contained inside of our
B half whole diminished scale.

The melody and the harmony for all these keys.
You simply use it the same way as Any of the other
Scale of chords .


Let's look at our next
Abstracted Scale

The wholetone scale .

Thinking in terms of C major KEY
Our V7 dominant chord is
GBDF
1357
Now we know that alterations to a V7 are normal

Watch what happens if we do this slight alterations

GBC#D#FA
13b5#579

Put the notes in a row
FGABC#D#F
7193b5.#57

We get a scale with all wholetones apart.

We can think of it as
GBD#FAC#
13#579#11

G9#5#11
But because we now have a symmetrical shape
( All notes in scale a wholetone apart)


This means each note of the scale creates its own

Dominant 9nth, #5, #11 chord.

Watch this.

GABC#D#FG



GBD#FAC#....( G7 GBDF ,G9#5#11 GBD#FAC#
AC#FGBD#....(A7 AC#EG, A9#5#11 AC#FGBD#
BD#GAC#F.....(B7 CD#F#A B9#5#11 BD#GAC#F
C#FABD#G.....(C#7 C#FG#B, C#9#5#11 C#FABD#G
D#GBC#FA..( D#7 D#GA#C#,D#9#5#11,D#GBC#FA
FAC#D#GB..(F7 FACD#, F9#5#11 FAC#D#GB
GBD#FAC#... .( G7 GBDF ,G9#5#11 GBD#FAC#



What this means is that this one single 6 note scale

Can be used on 6 separate dom7 chords.

And because
ALL of music only has 2 wholetone Scales

F wholetone
FGABC#D#F

C whole tone
CDEF#G#A#C


Between these 2 , 6 note scales
You have a way to play on all 12 dominant chords

( Even more importantly, you can see what dominant chords share the same notes and fit together .)

 

Let's look at a dominant circle of fifths
Progression

B7 E7 A7 D7 G7 Cmaj6

It's a secondary dominant to dominant resolution .
Let's take say the portion D7/ G7/

We can use the dim scale of chords.

Bdim7 BDFG#
Cdim7 CD#F#A

G#BDF equals G7
D#F#AC equals D7

Now scale of chords

F#ACD#....( D7, F7,G#7,B7
G#BDF......( G7, A#7, C#7, E7
ACD#F#....( D7,
BDFG#.....( G7
CD#F#A....(D7
DFG#B......(G7
D#F#AC....(D7
G#BDF......( G7

So this scale of chords covers

D7/ G7/
Also
B7, E7
Also
F7 / A#7
G#7/ C#7/


Our Progression
B7/ E7/
We have that covered

Next is A7/ we can use here A#dim7 A#C#EG

That brings us to
B7/ E7/ A7/
Next is
D7/ G7/
We use our scale of chords again the same one
Now we have
B7/ E7/ A7/ D7/ G7/
Our last chord is C6 CEGA Cmaj6

We can use C6 dim scaleofchords for this.

C6 plus Bdim7
BDFG# ( G7, E7
CEGA....(C6, Amin7
DFG#B..(G7,E7
EGAC.....(C6,Amin7
FG#BD....(G7,E7
GACE......(C6,Amin7
G#BDF.....(G7,E7
ACEG.......(C6, Amin7
BDFG#.....(G7,E7


Now we have a way to play through our progression
B7/ E7/ A7/ D7/ G7/ C6

Where all the notes we use can be harmonized with a chord to fit every note
While our notes always land on the strong beat
You can play contrary motion or intervals and always match on the strong beat .

 

Scale of chords contrary motion .

C6 dim7

CDEFGG#ABC
CDEFGG#ABC Cmajor6th

CDEFGG#ABC. Bdim7 =G7

See how the chord tones line up?

Start on C go backward
CBAG#GFEDC
Now combi e that with forward
CDEFGG#ABC

Add together

CBAG#GFEDC
CDEFGG#ABC

You can flow any melodic shape and the chord that fits with the note will be correct .