Using This Scale Instantly Turns You Into a Jazz Fusion God

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In today's video, we are going to take all those theory concepts we have been learning over the years and throw them away.

We will be using an E Dorian backing track for this class.

Our subject for this lesson is dissonance, a topic that does not need much explanation. Dissonance is using notes that are not part of the key, this is what is known as playing outside. You can't use it all the time, but if you inject those dissonances every once in a while, they can sound really cool.

The first core element to play with dissonance is having good rhythmic phrasing. With a good rhythmic foundation, everything you play is going to sound good. I personally like to use sixteen note subdivisions to create rhythmic phrases. Rhythm can make those bad sounds sound good.

I discovered the scale that we are going to use in this lesson by accident while preparing another lesson. It starts with an E minor blues scale between frets twelve and fifteen, played on the first three strings. The idea is to use the same fingering pattern in all three strings. This gives us the third, the fourth, the diminished fifth, the fifth, the major sixth, the seventh, the root, the ninth and the third. The only note that is kind of dissonant is the flat five, but because it is the "blue note" our ears are used to it.

Next, I took that shape and moved it a fret higher. This gives us a lot more dissonant notes. However, as they are equally mixed with good notes the result is easily accepted by the ear.

When it gets really fun is when we take that formula and mapped it out across the fretboard. We start seeing some familiar patterns that are easy to play, some chromaticisms and much more.

Blend this shape with the minor pentatonic and blues scale for a perfect blend of in and out fusion playing.

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