Tag Archives: jazz scales

Synthetic Jazz Scales and How You Can Make New Personal Scales and Sounds for Your Solos!

In this video I am going to show you how you can take any chord and easily make a completely new scale for it that you can use when you improvise. With some really cool (but also a bit strange) sounds.
The method will work for any chord and I will also discuss some of the ways that you can use Synthetic Jazz Scales to improvise including a few outside jazz licks using the scale.


0:00 Intro Solo with a Synthetic 8-note Scale

0:15 Construct a scale for any chord

0:43 The Scale construction principle – From analyzing C major

1:26 A basic construction for a Cmaj7 chord

1:43 Go for Out There or Re-make the major scale?

2:03 First example of an 8 note scale for Cmaj7

2:32 The Scale and some thoughts on diatonic harmony

2:46 Improvise with this scale – Approach no 1

3:03 Some Diatonic harmony: triads

3:39 This is like Barry Harris 6th diminished scales!

3:52 Why this is not ideal for Cmaj7

4:30 Improvise with this scale – Approach no 2

4:45 Shifting between the colors

4:58 Synthetic Lick No 1

5:46 Synthetic Lick No 2 – Opening up and mixing the chords

6:18 How to develop the 2nd approach and how it works better for the chord.

6:48 Digging into find more structures in the scale

7:24 A 7 note example from music I have played

7:51 A new perspective on Double Harmonic Major

8:19 Dbmaj7(#9#11b14)

8:26 Where I learned about this: John Ruocco

8:56 When to use this scales and why.

9:28 Do you work with creating your own scales? Are you a mad music scientist? (Am I?)

10:25 Like the lesson? Check out my Patreon Page!


the 3 jazz scales you need to know

Jazz Scales! The 3 You Need to practice and How You apply them to Jazz Chords

Jazz Scales can seem like a million options that you all need to learn in all positions and all chords, but there is a way to approach this that is a little easier than trying to learn all jazz scales in all modes. After all the Dorian mode is not as important as the Major or Minor key.

My Approach to Jazz Scales – Learn from the songs you play

In this video I am going to take a practical look at the chord progressions you will encounter and what scales over what chords you are going to need. I am also going to discuss how you apply the scales to the chords and practice in a more general way towards being able to use a scale over any of it’s diatonic chords.
Hope you like it!

List of content: 

0:00 Intro — a myriad of Jazz Scales

0:20 Practice efficiently

0:50 Finding the scales by looking at the progressions

0:59 The Major II V I Cadence: Dm7 G7 Cmaj7

1:15 The II V I and the other diatonic chords

1:44 The Major scale it’s all you need from So What to Giant Steps.

1:57 The Minor II V I Cadence: Bø E7(b9) Am6

2:09 Adding Harmonic minor and Melodic minor

2:34 Secondary dominants and cadences

2:51 Secondary cadence to IV in C major

3:07 Secondary cadence to III in C major

3:27 IV minor variations

4:26 Diminished Chords the two types

4:40 Dominant diminished chord

5:04 Subdominant diminished chord

5:44 What is covered so far

6:06 The tritone substitute: Dm7 Db7 Cmaj7

6:23 The Backdoor dominant: Fmaj7 Bb7 Cmaj7

6:48 Double diminished or German Augmented 6th: Fmaj7 Ab7 Cmaj7

7:23 Cadences with other dominant choices: Altered and Harmonic minor

8:11 The three scales and where we need them — cutting away what we don’t need.

8:55 Getting this into your practice routine!

9:12 Scale practice suggestions and knowing the scales

9:40 Example of what works and what doesn’t work when improvising over an Fmaj7 in C major

10:59 The Bonus from practicing like this!

11:20 Learning the rest of the scales

11:58 Do you work with this system or do you have a better one?

12:36 Like the video? Check out my Patreon Page!

From SCALE practice to JAZZ LICKS – Work towards Music!

If you don’t want to waste your time you want to make sure to turn everything you practice into material that you can use when you improvise.

We all practice scales and work on our technique by doing Scale Exercises, arpeggios, diatonic triads and patterns. In this video I want to show you how you can take your exercises and start turning them into jazz licks. 

The Diatonic Triads in a Scale Position

Let’s just start with an exercise that I am sure you already practice: Diatonic Triads. Here below I have written it out in the key of C major:

Turning this exercise into a II V I is shown here below where it is used on a II V I in C: Dm7, G7, Cmaj7:

I am using the descending version of the exercise above on the Dm7. It is then used with the triads of Dm, C and finally B dim. From here it continues with a G7 altered lick before resolving to C.

Diatonic Triads in Patterns

A great way to practice diatonic triads is to play them in a pattern so that you break up the order of the notes. In the example below I have written out the diatonic triads in a 3 1 5 pattern:

Using this type of exercise in a jazz lick is a great way to add some larger intervals to your lines.

The lick here below is using the F,G and Am triads over the Dm7. It then continues with a G7 altered line that is based on a Bmaj7(#5) arpeggio before it resolves to Cmaj7.

Triads along the neck

Another way to practice the triads is to play them on a string set along the neck. This is shown in a 2-1 fingering here below.

Turning this into a lick is easy. I am using the F,Em and Dm triads descending and then continue the triad idea on the G altered with Eb and F dim triads to resolve to the 3rd(E) of Cmaj7. 

A good variation on this is to use Db and Eb triads on the G7. This idea is shown here below:

Changing the way we practice scales

In the previous examples I had to rely on scale exercises that are stepwise in nature, so the triads are played in stepwise order: C, Dm, Em etc. 

The problem with this is that If you use triads on a Dm7 chord then Dm, F and Am are fine, but Em and G are less strong and therefore difficult to use in a lick.

One way of getting around that is to look at how the Dm, F and Am are a 3rd apart in the scale. This means that we have can start working on practicing the triads in 3rds in the scale to get them together in the sets that work together. An example of how you can do this is shown here:

The lick below is using the triads like this, and they are played in a 5 1 3 patttern. The triads used then are Dm, F and Am which are all closely related to a Dm7.

Beyond the triads: Shell voicings

Of course you can apply this to any type of structure. In the example here below I am doing hte same type of exercise as example 7, but now using Shell Voicings.

Turning this into a lick is shown in example 10 where I use Fmaj7 and Am7 shell voicings on the Dm7. On the G7 I am also using a Db7 shell voicing and combining that with an AbmMaj7 arpeggio before resolving to C.

Putting it all together

As you can see in these example it is not only important to try to use the exercises you do, but it can also be a great idea to try to shape your exercises so that they are immediately easier to use when improvising or composing lines.

It makes a lot of sense to try to work a lot with 3rds because it reflects how we build chords and keep the triads closely related to the chord you want to use them on.

Get a Free Ebook

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:


Get the PDF!

You can also download the PDF of my examples here:

From Scale exercises to Jazz Licks – Practice Music

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Exotic Scale – Augmented Scale – All The Secrets!

The augmented scale is a great symmetrical scale that you can apply to both maj7 chords and minMaj7 chords. In this lesson I will go over the scale and look at the possible arpeggios, triads, 7th chords and some ideas on how to improvise with them.

I also go over some ideas for constructing voicings for some of the exotic sounding chords that you can construct in this scale like Cmaj7(#9) and Emaj7/C.


Hope you like it!


0:39 Basic Construction and symmetry 

1:32 Arpeggios in the augmented scale 


1:56 Triads 

2:48 Using the triads in solos 

3:16 Different approaches to solo with triads 

4:53 7th Chord Options 

5:17 soloing with the 7th chords 

6:19 Adding further extensions 

7:25 Another way of describing the extended chords 


9:21 Finding more useful structures 

9:41 Shell Voicing Arpeggios 

9:52 Line with Diatonic Shell Voicings 

10:03 Spread Triads 

10:09 Lick with Open-voiced triads 

10:16 Drop2 voicing arpeggios 

10:23 The beatiful sound of Drop2 arps in the augmented scale 


10:47 Should I make a video on Augmented licks? 


10:55 Voicings in the augmented scale 

11:06 Symmetrical maj#5 voicings 

11:44 adding notes to voicings 

12:22 Exotic 7th chord over bass note combinations 


12:28 Learn the method not just this scale! 

13:43 No Quartal harmony! 

14:44 Like the video? Support me on Patreon!

7 Jazz Scales for Cmaj7 – Vital Guide to Modern Jazz Guitar Sounds

What jazz scales you use over a chord tells you something about the sound of what you play in terms of extensions and alterations. In this video I am demonstrating the sound of 7 scales that you can put to use over a Cmaj7 type chord. Ranging from the good old major scale to a few atonal and more exotic scale choices. A big chunk of what is available in Jazz Theory I guess 🙂
For each scale I also give some suggestions for what arpeggios or pentatonic scales might be useful for that sound.

List of content:
0:08 Intro
1:32 Major Scale Improvisation
1:53 Major Scale, extensions and arpeggios
3:28 Lydian Improvisation
4:04 Lydian Scale, Target notes, extensions, pentatonic scales
5:18 Lydian #9 Improvisation
5:38 Lydian #9, sound, chord construction, arpeggios and triad pairs
7:55 Lydian Augmented Improvisation
8:24 Lydian Augmented Scale, Special Pentatonic, Cmaj7#5 and arpeggios
10:55 Don’t Study modes Rant!
12:18 Augmented Scale Solo
12:43 Augmented Scale, construction and Triad sets
15:53 Messiaen Mode Improvisation
16:26 Messiaen Mode: Construction, arpeggios, Minor Fragments
21:56 Lydian Augmented #9
22:38 How to find scales for a chord?
23:29 Lydian Augmented #9 – Arpeggios, triad pairs and ideas
25:48 Practicing using these scales – Target or Defining notes of the sound
27:27 Did I leave out any Scale options?

Things you NEED to know in Melodic minor

Melodic minor is a key sound when it comes to modern and traditional jazz guitar. In this lesson I will map out some of the basic and more advanced arpeggios and triads contained in the scale. These structures are also the material I use for the 3 melodic minor jazz licks included in the video. 

The Scale

The melodic minor scale is constructed as a minor scale with a major 6th and 7th.

This gives us the construction in the key of A:

1 2 b3 4 5 6   7   8

A B C D E F# G# A

A position of this scale can be seen in the example below:

Of course if you really want to dig into the scale you probalby wnat to check it out in all positions on the neck.

Basic Arpeggio Content

Diatonic Triads

The first structure you want to check out is probably the diatonic triads. Triads are constructed in the scale by stacking thirds. The beginring of this exercise is shown in example 2 below:

It is important to realize that along the way you will be better off also knowing what each diatonic triad is and what notes it contains. This will help finding places you can use it and relate it to other chords where it may be a good upper-structure.

To shortly list the diatonic triads:

I – Am

II – Bm

III – C augmented

IV – D

V – E

VI – F#dim

VII – G#dim

Diatonic 7th chords

The next logical step is to check out the  7th chords. These are really just the triads with one extra note and also essential structures for understanding the harmony related to the scale in the from that it is used in a jazz context.

An excerpt of this exercise is shown in the example below:

Here’s a list of the chords:

I – AmMaj7

II – Bm7

III – CMaj7#5

IV – D7

V – E7

VI – F#m7(b5)

VII – G#m7(b5)

Advanced arpeggio structures

Quartal Harmony and Arpeggios

Besides the 3rds based structures that are covered here above it is also possible to start looking into some of the other possibilities contained in the scale.

A very important structure in modern jazz since John Coltrane is the Quartal Arpeggio. In the example below I have written out the quartal arpeggios played along the neck on the middle string set. This way of playing the is quite easy and a good way to connect the different positions.

A more difficult but equally important exercise is to work this out in the scale position. This is shown in the exercise below.

Diatonic Sus4 triads

The sus4 triads are closel related to the quartal arpeggios , just like the quintal arpeggios. In fact stacks of fourths can be seen as an inversion of a sus4 triad.

The diatonic sus4 triads of Amelodic minor are shown below. First as a melodic exercise along the neck and then as chords.

The sus4 triads in A melodic minor are:








Some of these triads may have peculiar names, but as you shall see in the melodic minor licks they do have some interesting sounds that we can use.

Diatonic Spread Triads

Spread or open-voiced triads are extremely useful for adding larger intervals into your lines. One reason is that it can be difficult to have larger intervals and still make coherent melodies, and using a structure as strong as a triad really helps with this.

In this segment I have written out the spread-triads along the neck in all three inversions. I find this a good practical way to work on them. You should also consider how great they are as alternate picking exercises, since they contain a lot of string skips and are useful fro string skipping and precision with alternate picking.

Spread triads in position

As I have mentioned with the other exercises it also often very useful to check them out in a scale position. This will help you have a better overview of both the scale in general and the position that you play it in.

Below is the root position spread triads in the position that I am using for this lesson. Consider these exercises more something you do for knowing the notes of the triads and where these notes are found in this position. It probably is not very practical as any type of speed or dexterity exercise.

Melodic Minor Guitar Licks

The last part of the lesson is 3 examples of melodic minor licks using the different structures and devices I have presented in this lesson as exercises.

Diatonic Sus4 triads and Diatonic 7th arpeggios 

The first example starts with two sus4 triads: Esus4 and Dsus#4. It then continues with an AmMaj7 arpeggio and ends on the major 6th(F#).

Spread triads and triad pairs

The second example is using an open-voiced or spread triad. In this case a first inversion A minor triad. The part that follows is making use of a D and E majr triad pair which takes it up to an high E where it via a small scale run resolves to the 9th(B) of Am.

Quartal Arpeggios and Open-voiced Triads

The final example is using some stacks of 4ths. As I mention in the video, the construction of the melodic minor scale yields a few peculiar quartal arpeggios. In this line the first example is two quartal arpeggios, though the first one is actually also a G#7 shell voicing. The G#7 shell is followed by a quartal arpeggio from E. Then follows a small scale run build around an Am triad and the final part of the line is an E major root position spread triad. The line ends on the major 6th: F#.

Scale practice thoughts

Keep in mind that it is much more useful for you to keep working on knowing your scales better and trying to use the things you practice in them than trying to be able to play these exercises fast. After all we practice exercises to become better at making music and if we don’t practice making music with the material from the exercises it is going to become either empty knowledge or things that we never really learned, 

Get a Free Ebook

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

Get the PDF!

You can also download the PDF of my examples here:

Things you Need to know in Melodic minor

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.