I have met many musicians over the years who believe one should never play Locrian, because no one wants to hear it. If you play in A minor (= the Imin) this is can be an ascending or descending A melodic minor (typically on Am and Bm7b5), and F jazz minor on the V chord (E7). G♯ Melodic Minor scale key signature consists of 4 accidental(s) : C♯ D♯ G♯ A♯ Notes. Information presented in this and the following sections refer to the ascending form of the melodic scale. But first, let’s look at how to build a melodic minor scale from an interval standpoint. I highly recommend looking at the arpeggios within the mode, and the tonal centers within a piece, there may be several. . If you dig this line, take it out of the lick and apply it to other situations in your solos. To begin, this line uses a Wes Montgomery inspired phrase to bring the melodic minor scale to the Im7 chord in this progression. A mere half tone difference to the diatonic, yet a whole new set of moods. It seems like a Dorian (a bit introspective) pepped up with a bit of Ionian (a bit hopeful, for love, or even a party). After logging in you can close it and return to this page. A melodic minor scale contains the b3 interval, just like any minor based-mode, but it has a major 7th interval that gives it a unique sound compared to the Dorian mode. G Lydian dominant uses the same notes as D melodic minor, just played from G to G. G♯ Melodic Minor Scale Key Signature. A short answer to your question is: to stay in the mood of this lesson you can use 2 minor scales in your progression. Lydian dominant is actually the fourth mode of melodic minor. The Lydian Dominant Scale, also known as the Lydian b7 scale, is the fourth mode of the melodic minor. I never understood modes then, nor did I have any idea really what they meant until a few years ago when I saw some antique video (VHS tape) lessons on modes by the wonderful Australian, Frank Gambale. I spent a lot of time on the diatonic Modes and the use of the melodic minor scale and it’s Modes and putting it to practice requires context. Scary. It had always troubled me that the Phrygian mode was described as being “Spanish”. In this first line, you’ll use a classic melodic minor phrase over Dm7, followed by another essential Lydian dominant line over G7. Much appreciated. The other common function for minor chords in jazz, beyond the Im7 chord, is the iim7 chord. Thinking in melodic jazz minor half a step above an altered V in this situation creates a sound which is very characteristic to jazz. When you’re ready, work on soloing over minor key ii V I changes and apply the melodic minor scale to the Im7 chord in that progression. if its possible. Dominant Chords (V7 #11) Playing from the fourth note of a melodic minor scale you can create a V7 #11 or lydian dominant sound. Ridiculous! I guess that’s why jazz makes one’s hair curl, gives one goose bumps and a feeling of furry teeth at times! D Melodic Minor scale key signature consists of 1 accidental(s) : C♯ Notes. Perhaps you will find it useful? Otherwise the two chords share many notes in common. If you're hip with your theory you know that Lydian means the #11 (#4) is present, and Dominant means there's a b7 about too - which perfectly describes this scale! Ionian: “Love happy” (credit to Frank, again) – this makes one think of two people, isolated from the world, immersed in their happiness and togetherness. The net result of the insights borrowed from Frank and Gary, coupled with a little bit of my own imagination has led me to understand the major modes (moods) as follows: Lydian: “Party happy” (credit to Frank) – this mood feels like a whole bunch of people having a hell of a good time together. Remember just like other scales, you want to practice the melodic minor in all possible variations and directions. Phrygian definitely shifts the mood to the realm of another world, not scary but definitely displaced. Altered dominants increase the tension in a tension-release sequence of the V dominant chord going home to the I. First of all: I like to call the scale of this lesson the jazz minor scale. This is because if you’re playing over a Dm7-G7 progression, D melodic minor produces the G Lydian dominant mode. You can utilize the melodic minor scale over major, minor and dominant chords equally well, so there are many applications from learning just this one scale. Locrian: “Eerie, spooky, creepy ” – the Locrian mood takes the “mystical” deeper into the realm of non-reality, to a point that is uncomfortable. This scale is a very useful and versatile scale for improvisers to know and not just for soloing over minor chords or tonalities. It is an oft-used alternative to the Locrian mode. If you’ve listened to Woody Shaw, McCoy Tyner or Kenny Garrett you’ve heard the pentatonic scale used in a melodic way, and y ou can use this same minor pentatonic scale when approaching a lydian tonality. Please log in again. So, summarising what we know so far, we can play the following Major and Melodic Minor modes over the following chords: So, for example, if we had the below chord progression, we could improvise over it using the following scales (the related keys are also listed): While all my lessons are free, if you find them useful please consider donating to help keep them coming. Interestingly, if you omit the 5th from both chords (which is allowed), you get the exact same notes. Here are four ways (in C minor) to use the melodic minor scale over different chords in your solos: Obviously the first way to use the melodic minor scale is over a minor chord. Gary taught me that rather than seeing modes as scales beginning at sequential notes on the mother scale (e.g. Below is a comparison of the Altered Scale to the standard Mixolydian Scale: The full associated chord is C7♭9#9#11♭13, but this is quite a mouthful so the chord is usually just shortened to C7alt. As we have already learned, a Mode is a scale created by establishing a new root note within a pre-existing scale. It's a super hip kind of … You can resolve that tension, or you can let it hang if you want. This means when you are playing in melodic minor harmony, you don’t play the chord individually so much as you play the whole key all at once. I’ve experimented with several approaches to soloing over this progression, including the melodic minor derived Altered Scale. One of the most widely used scales in Jazz is the Altered Scale. To finish your study of the how to use the melodic minor scale, here’s a sample solo over the Miles Davis tune Solar, using melodic minor over each iim7-V7, and Im7 chord. Here is a letter I wrote to a jazz guitar forum recently explaining what I’ve learnt and come to understand about modes (Maj) and the use. Melodic minor is created by taking the regular (aeolian) minor scale (in the example below G minor) and raising the 6th and 7th scale degree (to solve the problem of the minor dominant in minor … I have substituted the V7 with a V7Alt (specifically V7flat9) simply because I like the sound of it as well as the fingering. But then I am just an amateur gitarist who tries to find the use of modes in playing, something nobody has succeeded in explaining to me. A friend told me that modes are “moods” that can be developed into different feels, by how the guitarist engages them. This is the key to using melodic minor over ii V chords, that you resolve the tension that is created with this scale over each chord in the progression. Lots of flats, the darkest of the diatonic modes. If we use the C Melodic Minor scale as the parent scale, the related Lydian Augmented scale will be Eb Lydian … The first fingering begins with the root note on the 6th string and runs up the fretboard from there.
It is played over a V7 chord and is an interesting scale because every note that can be altered, is altered. To help you apply this concept to your playing, here are a few sample licks that you can study that use melodic minor over the iim7 chord in a ii-V-I-VI progression. however, now i know. This means you can all the notes of the scale over any of the chords, and that all the chord voicings are completely interchangeable. That is, the CmMaj7 chord (C, E♭, G, B) can be used as a voicing for any chord in the key of C melodic minor just by changing the bass note. For example, the only reason an FMaj9#11 (F A C E G B) cannot be a G13 (G B D F A E) is because the FMaj7 contains a ‘C’, which is an unavailable tension or avoid note from the point of view (POV) of the G7.
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