Exercise (Little Jay)

I got this exercise from my teacher:

Try playing the follwing chords: Dm7 - G7alt - Cmaj7(#11) - A7alt (A II-V-I-VI also).

With every chord there is a pentatonic minor scale:

Dm7: A m7 pentatonic
G7: Bb m7 pentatonic
Cmaj7(#11): B m7 pentatonic
A7alt: C m7 pentatonic

from forum

Emily Remler article explanation

I didn't know Emily Remler until I read this thread.
By reading the article, I got to get an idea of her genius and altruism, because she just shares her technical knowledge with such a generosity!

Focusing on the technical part, where she says she just uses the melodic minor and the lydian, it turns out to be what we are used to:

On C tonality:

1. she says she uses Ab melodic minor over G7, when it will resolve to C
-this is the same as G altered scale (see Dirk's lesson on this)

2. She says she uses D melodic minor over G7, if it does NOT resolve to C
-this is the same as G Lydian dominant scale (see Dirk's lesson on this too)

3. She says she uses C lydian over C maj 7
-this is what most of this thread has been about

4. She says for the m7b5 she uses the lydian scale up a flatted fifth
-this is the same as using D locrian for Dm7b5 (makes sense because it is the II of C minor tonality- it has the same notes than C natural minor)

5. She says for minor chords she uses lydian up a flatted third
-over Cm (tonic), this means Eb lydian, which is the same as C dorian mode!

So if you don't get confused by the names, it turns to be very simple :)

PS: Oh, the guide tones part and the chord accompaniment part are very insightful, read the article if you can.

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