Adding a new flavor for minor tonalities

[00:00:12][music] [music] [music] >> So, I think I talked in my last video about minor sounds and how I feel like it's it's really easy to get intermediate the minor stuff.

[00:00:39]But, to really get beyond that and do something special with minor minor tonalities, I feel like it's a little little challenging and that's something I struggle with.

[00:00:49]So, whenever I find something that can fit in the minor realm, but not to sound like every other minor song, I always love it and try to dissect what it is.

[00:00:59]One of my favorite tricks has been playing an arpeggio over a minor chord and getting a completely new sound.

[00:01:08]So, if you take A minor, >> [music] >> and you take the relative major, which would be C, and you play the major seventh arpeggio, >> [music] >> it gives you a really cool different sound working to a minor.

[00:01:29]So, that way it doesn't always sound too bluesy or just doesn't sound like every other minor song.

[00:01:36]>> [music] >> Kind of gives it more of an angular attack.

[00:01:43]It almost sounds like it's outside, but it's not.

[00:01:47]And what's nice about that relative major arpeggio >> [music] >> is it actually hides the root. So, you could keep building that tension.

[00:01:57]>> [music] >> And then when you want you can finally hit the the root to resolve it, which works really well with those minor tonalities where you might be wanting to build some tension and and some more unresolved mode of feel to it.

[00:02:16]So what I do is I put on like an A minor ambient sound and I know I have that full C major scale, which is the same thing as the A minor scale and I know the A minor pentatonic is here.

[00:02:27]Of course I know my A minor triads are [music] here. You know, I know where all that lives.

[00:02:32]And then I just take that C major >> [music] >> and I highlight that.

[00:02:41]And if I want to resolve it I'll go to the the root.

[00:02:44]>> [music] >> And then you can just work on that in every position.

[00:02:48]>> [music] [music] >> And if you keep working on it eventually you'll get through and then you'll be able to get a different minor sound.

[00:03:06]One of my favorite film scores lately actually uses that trick. It's you know, it's over A minor and it's >> [music] >> just right with that C major arpeggio.

[00:03:24]So he hides that root note and then for that next passage >> [music] [music] [music] [music] >> So it's pretty easy thing to incorporate once you get those major seventh arpeggios under your fingers.

[00:03:53]I do love the major seventh [music] arpeggio cuz I feel like that half step is what makes gives you this unique sound.

[00:04:01]Cuz I feel like the the flat seventh arpeggio it it almost sounds just like a like a little bit of a different pentatonic, you know, it doesn't feel to me it doesn't quite have the same unique angular sound that that major seventh one does.

[00:04:19]And what that move does is it allows you to use that arpeggio in that minor tonality.

[00:04:29]So, I've been using it just to pull myself away from, you know, my normal kind of minor sounds.

[00:04:38]>> [music] >> Gives me just something a little more angular.

[00:04:50]And the other thing I learned from that lick I showed you, that that score that I've been liking is >> [music] >> is the wide intervals is also a nice move, especially for minors minor sounds.

[00:05:03]>> [music] >> You know, you're jumping up a fifth there.

[00:05:13]>> [music] >> And then you jump up a fifth here.

[00:05:17]>> [music] >> So, those are two things I've been doing with minors is yeah, work on the the wide intervals and adding that major arpe- major seventh arpeggio.

[00:05:31]Sounds complicated, but it's really pretty easy to do.

[00:05:34]The last thing I didn't mention was that I I usually do these in one octave, so I don't I don't I rarely >> [music] >> I don't run the whole thing, you know, I start at one C and go to the the next C.

[00:05:58]>> [music]